chromatographychoreography is rooted in topics of expansion both physical and theoretical. It playfully challenges the norms and constraints of three forms of writing: choreography, cartography and chromatography, broadening the definition and use of the combining form ‘graphy’= ‘writing’.

‘The ink departs the foam and meets the paper. The paper instantly grabs the liquids as if it has been waiting all its life for this meeting and offers a body which the ink can occupy. The ink steadily transcends and takes the shape of the paper. The paper is now sketching, directing and choreographing the ink.’

Kindly supported by: Ealaín na Gaeltachta Ireland

Thanks to: Anne-Clara Stahl, Iris Dittler, Tara Silverthorn

Asher O'Gorman is from Ireland/England and resides in Vienna. Her work is a meeting of choreographic and visual art practices. Working with choreographic sensibilities to compose movements, things & intentions. Making visible what is not always visible; Details detected by our senses that are often overlooked in an era of overstimulation.
Asher holds a B.A.(Honours) in choreography from Dartington College of Arts (UK), and completed her dance and choreographic training in (SEAD) Salzburg in 2008. Currently she is completing her MA at the TransArts Department, University of Applied Arts, Vienna.
She was awarded the DanceWEB scholarship Impulstanz. She also received the STARTStipendium BKA. Recently the piece 16.01.2018 a collaborative work with artist Anne-Clara Stahl was performed at PFERD forum for contemporary art, Vienna.
asherogorman@hotmail.com

Oxy Moron is a play of multiple selves and their constant, seamless shape-shift between fiction and reality, magic and science, present and future. Using the modern day cyborg as a metaphorical narrative that unites both human appearance and machine-like behaviour, the work juggles with stereotypes and challenges different concepts of a perceived norm. Identities, corporealities and social status pass through a precarious transformation between self-empowerment, self-enhancement, self-optimization and self-deformation questioning the significance of the physical and the human in a digital age.

Morgentraining@Im_fliegerMind the Mysteries // Sabina Holzer (AT)

With elements of Core Strength Vinyasa Yoga we train the deep muscles (pelvic floor, psoas, lower back) to strengthen the body’s support.
Essential to this form of yoga is the movement of the wave, for an efficient release of tension, which we support with a fierce bonfire breath.
We will work on unfolding the different positions mindfully and specifically. We will build up strength connecting with the support of the ground, to open lower back and hips so that we rise and shine in our capacities and transform on all levels.

Morgentraining@Im_fliegerAI KI DO // Claudia Heu (AT)

Aikido is a Japanese martial art. The practice focuses on the development of one's own presence, the process of health and the joy of the movement. A practice path that sharpens the capacity for conflict resolution and self-empowerment.

Aikido starts with one's self. With one's own attitude. "Stand and raise up, stretch upwards and open the chest, then you can breathe properly." Noboyuki Watanabe Sensei says. The energy begins to flow, the own size and presence is revealed. The created space opens up new possibilities in dealing with oneself and thus also with the other.

Claudia Heu teaches aikido, presence and performative practices in public space, at the Music and Arts University of the City of Vienna (MUK), the Max Reinhard Seminar, the Salzburg Experimental Academy of Dance (SEAD), the Salzburg Performance Tagen, the ImPulsTanz Festival, the ZZT at the University of Music and Dance in Cologne and the University of New Mexico.

Training@Im_fliegerGLITCH! // Malika Fankha

GLITCH! is a movement practice developed by Malika Fankha after years of experience in the realms of different Martial Arts, Dance and Yoga lineages. This challenging yet accessible class interweaves elements of Shaolin Kung Fu, Contemporary Dance and Vinyasa Yoga into a dynamic flow using the rotations, turns and spirals inherent in our anatomical structure. Focusing on correct alignment and the interplay between gravity and our own bodyweight will allow us to move with more ease, efficiency and joy. All levels are welcome!

Residency@Im_fliegerDiorama // Daphna Horenczyk (IL)

A diorama is a scene, a life-size display, a spectacular picture.
The diorama stages human knowledge of the world, not without influencing and perpetually challenging the viewer’s perception.
This "diorama" is a solo/trio performed simultaneously in front of a live and virtual audience. The happening on stage is captured and streamed live on social media. The performance can be watched from anywhere in the world (with internet access) in real-time. The image is constantly manipulated and transforms, and is never perceived the same in real-life and on screen.

Daphna Horenczyk (IL/AT) is a Vienna-based dance artist.
Since 2012 Daphna is choreographing independently for stage and for film. Her choreographic language is mainly based on contemporary pop culture and the use of irony and self-humor as critical tools to social phenomenon. Her work was presented in various venues and festivals in Israel and Europe, such as MASH, Suzanne Dellal Center (IL), No-Ballet, Schwere Reiter (DE), MAAT (PL), the National Theater of the Faroe Islands (FO) and more. In addition, she has worked with choreographers such as Ceren Oran, Amanda Pinia, Andrea Bozic, and Ariel Cohen.

Residency@Im_fliegerSciFi Lullaby // Sabina Holzer (AT)

For Sabina Holzer, writing means to touch and shape the world and thus to be touched and shaped through it. The creativity and agility that is often assigned only to the human intellect is actually examined on the immediate level of sensory perception. What is a writing that blurs the boundaries between day, night, light, dark, human, non-human, death and living? What are the traces that leaves such a writing? And how do they flow through the bodies and spaces? SciFi Lullaby searches for these tracks and invites the visitors to connect with them in a first tuning.

Sabina Holzer

Performer, choreographer and author

Sabina Holzer develops performance projects in Austria and abroad. She has worked as a performer in international projects with Vera Mantero; Philipp Gehmacher; Milli Bitterli; Jeroen Peeters; Katrin Hornek and many others. She prefers collaborative settings for her work. At the moment she is engaged in a extended research regarding writing, materiality and movement, which she develops through her artistic work. She is a coach in Systemic and Integrative Bodywork SIB® and combines this special resource-oriented (movement) approach with Core Strength Vinyasa Yoga and somatic practices. She teaches movement exploration and performance at a.paas (B), Mezzanine (Pt), Vienna Conservatory (A), Tanzquartier Vienna, ImPulsTanz, Royal and General Archive of Navarra, a.o. Additionally she is involved in mixed ability projects and mentoring upcoming artists in the frame of Im_flieger; Imagetanz Festival Brut and idcode. Since 2007 she has published texts on dance and performance at, among others, www.corpusweb.net (archive is in set up); engagée - the magazine for political and philosophical interventions; media impulses; Triëdere, Journal of Theory, Literature and Art; Scores TQW; Sublin / mes - philosophising from below, a queer reviewed journal; Sternberg Press; e-podium publishing house and numerous artists publications. She was co-editor for the digital publication mindthedance.com. She is associated-artist of the artist platform Im_flieger, where she co-developed conceptually and structurally projects from 2011 - 2016, especially: www.stffwchsl.net. Since 2005 she works in close artistic connection with the visual artist Jack Hauser. Together they design performances and interventions in Theaters, museums and galleries, such as: Lentos Museum of Modern Art Linz; MACHFELD Studio; WUK, Essl Museum; Hidden Museum; Documenta 13 and Die Angewandte / University of Visual Arts Vienna.

Jack Hauser

Born in 1958 in Horn / Lower Austria. He studied, after his work as a chemist, from 1983 - 86 electroacoustic music in Vienna. Erzklapperatist & Ex.Filmemacher with Super 8 film collection Banditengesänge (1986 - 2009). Since 1989, Jack Hauser has written together with David Ender experimental adventure novels as romance novels for all and none. In 1994 the founding of the performance band Lux ​​Flux with Inge Kaindlstorfer & David Ender. 2003 begins the collaboration with Milli Bitterli. In 2014/15 he developed the performance series The Call of Things together with Lisa Hinterreithner. Since 2005 numerous collaborations with Sabina Holzer www.cattravelsnotalone.at

Space

Warming up with somatic touch conveys orientation in the perception of inner and outer spaces and nourishes the resulting movements, stimulating structured yet spontaneous encounters. Between contact and non-contact, we follow or direct sequences of motion by initiating clear directions.

Experience

Find out what moves you by working with anatomical precision and exploring different body systems through somatic approaches that lead to improvisation. Discover your personal flow of movement - share it and get in touch with the flow of others. Touch as an essential experience in Contact Improvisation reflects a basic human need.

Time

Time and timing - be slow, if you want to be fast, we integrate the strong connection between martial arts and dance. Listen to your breath, listen to your heartbeat as you compose your rhythm and expand it into motion in the here and now.

Create and Play

Perform yourself, make creative decisions, and use them to improvise as you move between "me" and "we." A stream of movement, an adventure full of touch, a poem without words.

Daniel Aschwanden (CH/AT), living and working in Vienna,. performer, choreographer, director, curator

where art meets the social: performative interventions in urban contexts, hybrid formats of interventions in public spaces in Europe, Asia, Africa, stressing the angle of cultural exchange and communication using a variety of art practices articulating themselves in a wide range of movement/dance -based formats reaching from public spaces to installations and performances in blackboxes and white cubes, relating social to art agendas.

Daniel Aschwandens movement- and dance – biography includes a wide array of experiences starting out from movement based theatre (Grotowsky based methods) to Butoh Dance (working with Min Tanaka´s Mai Juku) to Contact Improvisation (Mark Tompkins, Lisa Nelson, Nina Martin and others). He was founder and director of Vienna´s Bilderwerfer project for dancers with and without special needs creating work and workshops on the base of danceability related methods. He is continuously practising Tai Chi and is also influenced by bodywork like Feldenkrais, Reiki, Authentic Movement. Presently he is being trained as a Somatic Movement Educator.

In recent years he worked in transdisciplinary collaborations on interventions in urban public space and finished his 365 days Solo-performance project GOLDBERG 365 in 2017. art-urban.org

Residency@Im_fliegermom's desperation // Jasmin Hoffer (AT)

mom's desperation is an art practice that reflects domestic dramas and fears of global disasters.
Arising from a scene of never vanishing piles of unwashed clothes and unsorted papers, where the constant exposure to intrusive acoustic and olfactory stimuli, microbial invasions and unfiltered emotional outbursts are a daily reality - the life of a young family in the city - situated amongst a perpetual stream of recklessly CO2 emitting cars and planes, as if there was no tomorrow.

Simone de Beauvoir claims that the torture of housework lies in its endless repetition The clean becomes soiled, the soiled is made clean, over and over day after day. Hoffer wants to give visibility to a sphere that is normally hidden from the public gaze. In our contemporary society care work and reproductive labour is expected to be handled on an individual level and should not influence your accomplishments in your professional live. It is often performed with a sense of solitude and isolation and lack of communal support. The practice aims at stimulating a discourse and generating healing and transformative powers.

Artistic advice: Anna Mendelsohn

Jasmin Hoffer (AT) is a choreographer, performer and passionate dancer living in Vienna. She holds an MA in contemporary dance dissemination (HfMT Köln) and works in fluctuating constellations and diverse formats with artists such as Elena Kristofor, Laura Oriol, Oleg Soulimenko or Alfredo Basuglia. She has been working in Austria and other parts of the world like the US, Palestine, Germany, Italy, Norway and Russia entangling herself with ever-changing complicated socio-political sceneries. Some of her performative actions never left the intimacy of a rehearsal space, others were presented in established venues /festivals such as brut, TQW, WUK performing arts and ImPulsTanz in Vienna, in Künstlerhaus - Halle für Kunst und Medien Graz or Pact Zollverein Essen. The work she creates and engages with ranges from intimate radio musicals about being a mother, to somatic approximations towards amoebas, worms and dinosaurs, to meticulous sculptural interactions with garbage bags. In 2018 she was granted the STARTstipendium from the Federal Cancellery of Austria and held a Turbo Residency at ImPulsTanz.

doing nothing – what for?
On the Effectiveness and Utopia of Not Acting with the Philosophers Michael Hirsch (DE) and Kilian Jörg (AT).
This lecture dialogue wants to offer interpretations when, how and why non-action can sometimes be more productive - in the sense of being politically more effective - than action. The effectiveness of non-action.
"The greatest events – they are not our loudest but our stillest hours. Not around the inventors of new noise, but around the inventors of new values does the world revolve; she revolves inaudibly." (Nietzsche, Also sprach Zarathustra)

after too much
Many of us - people of the global North - live in permanent absent-mindedness and overburdened by the precariousness of work and life as well as digital communication industries. How do these conditions inscribe in current subjectivizations and how do they determine artistic works? How do you react to these increasingly aggravated dynamics?
In the laboratory after too much, artists and philosophers confront the permanent state of over-doing as a way of life and ask themselves to what extent a doing-less or doing-nothing, after too much, challenges the existing social order and could become a political act?

Based upon their research in Mongolia, Claudia Heu and Mungunchimeg Batmunkh are asking about a European approach to and experience of disappearance. They invite scientists, initiators and other interested people to continue exploring together with them.

Mongolist Àgnes Birtalan will elaborate on a Mongolian view on disappearing in her lecture
“The emergence and disappearance of shamans. Where does the soul go?” Karénina Kollmar-Paulenz,
researcher on Central Asia, will introduce “Chöd” (Macig Labdrön), a Tibetan tradition of dealing with the invisible, the unseen, which is also practiced in Mongolia.

Ursula Reisenberger has been working with the body as a starting point for an awareness of the here and now. She will introduce exercises and improvisations about different forms of presence and absence, using the body as a tool for both, new experiences and their reflection.

Procedure
Through lectures, body work, discussions and improvisations, we will approach our topic from Friday evening.
We will work as a collective, in smaller groups and individually to investigate questions of disappearance.
Im_flieger will provide working space, resources, and the possibility for networking.
In closing, our outcomes will be shared by the whole group. From 4.30 pm on Sunday, the room will be open
to visitors, who are invited to observe and / or participate.

Apart from an interest in the subject of disappearance, no prior knowledge is required;
a heterogeneous composition of the group is important to us. As we want to treat the laboratory as a joint research process, participation is required for the whole weekend. If you would like to attend, please send a brief statement about your interest to Claudia Heu: heujoy@icloud.com

Residency@Im_flieger“AND“ // Sara Lanner (AT)

Mutely spoken interviews, collective sculptures and constellations of partly shared memories. Sara Lanner explores questions about shared knowledge, (hi)stories and continuous practice in a personal choreography. Using interviews of the last three years with artists and friends a collective sculpture, a poetic dance, a speculative practice and seeming continuity are being carved into the space.

Whom to ask what question to ask?
Whose (hi)stories to work with?
And what stories lie ahead?
Whose knowledge to base something on?
And…what means continuity?

Sara Lanner (AT) is a freelance choreographer, dancer and performance artist in the field of performing arts as well as visual arts. She worked a. o. with Anne Juren, Michikazu Matsune, Oleg Soulimenko, Barbis Ruder, Lilo Nein, Alfredo Barsuglia, Fanni Futterknecht and LUX FLUX & Saira Blanche Theater as a dancer and performer. Recently she presented the Performance Guess What at the imagetanz Festival 2018, brut Vienna.
Her solo-performance A Living Example was presented internationally at WUK Performing Arts Vienna (2016), NAKT Festival Hamburg (2017) and CO Festival Lokomotiva/Skopje (2017). The interdisciplinary performance Etiquette der Zungen, in collaboration with Klaus Spiess and the Medical University Vienna was presented at the Pathological Anatomical Museum Vienna (2017). In 2015 she presented the solo-performance AUSstellenENTstellen at the Werkstück-presentations, TQW Vienna.
Sara Lanner studied Contemporary Dance and Dance Pedagogy (IDA Linz, NDH Oslo) and is currently studying Performative Arts at the Academy of Fine Arts Vienna. She received scholarships such as STARTStipendium/BKA Österreich, at the Tanzquartier Vienna and danceWEB. Residencies at Uferstudios Berlin/LLB Wild Cards, ImPulsTanz Wien, Tanzquartier Wien, Huggy Bears/SUPERAMAS.
www.saralanner.com

Residency@Im_fliegerThe Synesthetic Field // Iris Dittler (AT)

The transdisciplinary project The Synesthetic Field works with an interplay of elements from the fine arts and contemporary dance.Resonances develop between bodies, objects, sound, and space. Grammars of the respective medium are investigated in terms of their potentials for transfer and translation into other media. Departing from the concept of synesthesia, which involves parallel or secondary cognitive experiences, the project examines the extent to which the visual can also be perceived physically.This transfer will generate a performative embodiment of objects.

Twist&Talk: In, Out, With // maRia Probst and Christian Apschnera dance improvisation and discursive practices in times of social change

Foto: He Shao Hui

How do we influence society’s choreography and how are we being choreographed by it? Which “scores” make us move without knowing it? Will I still be regarded as one of us if I am “out”? What does it mean to be with others, and how does the other move if the other is me or you? In what way are those and other discourses incorporated by our bodies, movements and dances? The Twist&Talk series will create a setting in which those issues can be addressed in order to promote a culture of “embodied discourse”.

Twist&Talk is part of the extensive, participatory, artistic-scientific research project CON.ACT. This research project examines how useful certain contemporary dance improvisation techniques can be in dealing with current social issues. For more details, see: www.rollingpoint.at

CON.ACT / Etappe 1 is made possible by a cooperation between Tanzquartier Wien, Im_flieger and rollingpoint.

maRia Probst has been a free-lance dance and performance artist, a dance pedagogue and an organizer/conceptor in the area of dance and performance since 1999. Her currents works are hybrids between dance, creation, performance and participatory art. Since 2000 she has continuously worked as an instructor in the areas of dance, performance and Somatic Movement for beginning professional dancers and actors and also for laypeople of all age groups. maRia Probst is a certified Somatic educator, a Tuina practitioner and a certified Somatic fascia therapist.

Christian Apschner, originally trained as an environmental expert, has turned to movement research more than 20 years ago and works as practitioner for body work (Trager® somatic exploration/movement education, Ortho Bionomy). Apschner is the co-founder of rollingpoint – association for Contact Improvisation and related forms of dance and movement. To him dance and performance art are part of an artistic and social life concept as well as a welcome opportunity to make the invisible visible and to take a socio-political stance.

Claire Lefèvre is a French choreographer and performer, currently based in Vienna, Austria. After graduating from London Contemporary Dance School (BaHons) in 2012, she studied in SEAD, taking part in the International Choreographic Exchange program. Her recent works Function Man (2016) and S/M (2017) have been showcased in several festivals in Austria and internationally such as March Hare Festival (IL), Dance Days Chania (GR), TanzHafen (AT), Imagetanz (AT) and have been supported by DanceWeb, Life Long Burning, Im_flieger, Tanzzentrale Nürnberg, Wien Kultur, WUK, Brut Wien and Huggy Bears. In 2017 she was awarded the BKA Start Stipendium fur Musik und darstellende Kunst. Claire also teaches concept-writing to movers and makers and is a contributing writer for Springback Magazine.

Training@Im_flieger
NOURISHYOURNATURE // Sabina Holzer (AT)

With elements of Core Strength Vinyasa Yoga we train the deep muscles (pelvic floor, psoas, lower back) to strengthen the body’s support. Essential to this form of yoga is the movement of the wave, a gentle release of tension, with which we connect again and again. Our breath will support us so that we can unfold the different positions mindfully and fluently. With awareness in movement we connect our thinking with the knowledge and joy of our body, which accompanies us through the day.

stffwchsl WERKSTATT #3 is artistic workshop and work at the same time. 7 artists from different disciplines open their artistic practice and cordially invite the visitors to be part of their research and to enter into dialogue. We want to draw attention to the desire for a “stable and ideal world” shared by all, and its always necessarily processual state. This potential conflict also influences the discussion of artistic practice: the claim and the expectations of a work as process is opposed to that of a communicable product ready to be consumed by an audience. stffwchsl WERKSTATT #3 researches art as a practice of life and follows the conviction that sharing artistic processes (as a work of art) enhances our view of the world. How can a different understanding of the world and its potentials of community be experienced?

stffwchsl WERKSTATT #3 is part of the transmedia research project STOFFWECHSEL- Ecologies of Collaboration with differently involved artists and theoreticans, experimenting with structural and artistic entanglements.

What is artistic work? What kind of worker is an artist? Could it be a paradigm for post-industrial work-relationships? And if so, would this point towards creative liberation or neoliberal self-exploitation? What utopian potential can we find today in an “Avantgardist” fusion of art and life?
In #2 we will continue to explore these questions in the environment of Sandleitenhof, one of “Red Vienna’s” monumental social housing projects for a workingclass we do not know anymore. Can artists and other intellectuals take over it’s place as a universal class?

Towards an Emancipatory Reconciliation of Art and Life // Lecture by MICHAELHIRSCH (DE/ philosopher and political scientist, works as freelance writer and lecturer)

Who can apply?
Artists based in Vienna, working on a performative project or research in the field of dance and performance. Transdisciplinary and hybrid works are welcome. We provide residencies for four projects.

Work, Art & a Good Life #1 // Lecture and Panel

What is artistic work? What kind of worker is an artist? Could it be a paradigm for post-industrial work-relationships? And if so, would this point towards creative liberation or neoliberal self-exploitation? What utopian potential can we find today in an ‘Avantgardist’ fusion of art and life?

7pmTowards an Emancipatory Reconciliation of ‘Art’ and ‘Life’ // Lecture by MICHAELHIRSCH (DE), philosopher and political scientist, works as freelance writer and lecturer.

8pmCase examples, analysis and reflection about the current working conditions of the local independent dance- and performance field
by WIENERPERSPEKTIVE/working group SALARYLEVELS – WP open platform of the independent dance/performance/theatre scene in Vienna & Anita Kaya/Im_flieger. Moderation: Kilian Jörg, philosopher, Vienna

RISEANDSHINE // Morgentraining mit Sabina Holzer (AT)

We will practice elements of Core Strength Vinyasa Yoga to emphasize muscles deep within the body, (like pelvic floor, psoas and quadratus lumborum) in order to build the support for the body from within. The breath will be our guide to unfold our positions and awareness through movement will help us to connect our mind with the wisdom and joy of our body to guide us through the days.
There are some yoga mats available. If you have one, please bring it along.

GOLDBERG 365 is a tribute to the “real-time” choreographer and dancer Steve Paxton (USA). Everyday, for a whole year, choreographer, performer and urban researcher Daniel Aschwanden danced to the Goldberg variations in Vienna’s city center and in various cities in China and Switzerland and made protocols of his observations. This urban research is now being continued
in the public space in Bat Yam / ISRAEL.

Daniel Aschwanden (CH/AT), *1959, performer, choreographer. Performative interventions in urban contexts, hybrid formats questioning and researching public spaces in Europe, Asia, Africa, stressing the angle of cultural exchange, participation and communication, using a variety of art practices articulating themselves in a wide range of movement/dance -based formats reaching from public spaces to installations and performances in blackbox and white cubes theaters, relating social to art agendas.

CHANGINGSPACES Vienna/Tel Aviv is an artist-in-residence exchange-project for dance and choreography, initiated in 2015 as long term exchange and cooperation between two independent cultural actors – Im_flieger/Vienna and Kelim. The cooperation in the year 2018 focuses on the exchange of experienced artists and the discourse between the artists sharing their working methods with the local communities.
Anat Danieli & Omer Uziel (IL) and Elisabeth Schäfer & Martin Schlögl (AT) presented artistic positions inspired by writings by Hélèn Cixous (FR) in February 2018 in Vienna. Daniel Aschwanden (CH/AT) is invited with his work Goldberg365 as part of the March Hare Festival 2018 in Israel. Curation: Anita Kaya & Anat DanieliCHANGINGSPACES Vienna/Tel Aviv 2018 is supported by the Austrian Cultural Forum Tel Aviv and Bundeskanzleramt Kunst/Bilateraler Künstleraustausch.

UPCOMING:
Work, Art & a Good Life #1 // Lecture and Panel

What is artistic work? What kind of worker is an artist? Could it be a paradigm for post-industrial work-relationships? And if so, would this point towards creative liberation or neoliberal self-exploitation? What utopian potential can we find today in an ‘Avantgardist’ fusion of art and life?

Towards an Emancipatory Reconciliation of ‘Art’ and ‘Life’ // Lecture by MICHAELHIRSCH (DE), philosopher and political scientist, works as freelance writer and lecturer.

cowbirds explore the “spirit” of polyphony in practice and theory; by singing, sketching and discussing with contributions by Sonja Kieser (ethnomusicologist) and Gianni Repetto (writer and philosopher).
We understand “tradition” as something in movement, being passed from people to people, in a spirit of opening; inclusive, not exclusive. *fish in search of water is pulling the strings of different traditions to capture their nature and weaving them artificially in an urban – artistic setting.

*philia: one of the four anciant Greek words according to Aristotle for love: friendship, reciprocity, what bounds us together, what creates solidarities.

Cowbirds (AT): Vienna based collective dealing with traditional forms of singing, in between tradition and fiction.

Sonja Kieser (AT) is an ethnomusicologist and DOC scholarship holder of the Austrian Academy of Sciences. She works since 2016 with the project “Stornelli” to short sung improvised “stanzas” in southern Italy. For this, Kieser has carried out a multi-situated research and works among others together with the actors of the “Puteca” in Puglia. Kieser presents her ideas at the international meetings of the ICTM and organizes in 2018 with colleagues a conference on “ethnographies on creativity” in Lisbon.

Gianni Repetto (IT) is a writer and philosopher from Piemont, author of numerous literary and theatrical works. He founded the Laboratory of Popular Theatricality of the “Ecomuseo di Cascina Moglioni” and is co-founder of “Il Contafóre”, a theatre laboratory. He’s been collaborating for several years with Roberto Paravagna, guitarist and TV journalist, staging theatrical and musical reading about several aspects of contemporary culture and society.

TRAINING
Surrender while Staying Strong // with Sabina Holzer (AT)

We will practice elements of Core Strength Vinyasa Yoga to emphasize muscles deep within the body, (like pelvic floor, psoas and quadratus lumborum) in order to build the support for the body from within. The breath will be our guide to unfold our positions and awareness through movement will help us to connect our mind with the wisdom and joy of our body to guide us through the days.
There are some yoga mats available. If you have one, please bring it along.

Im_flieger@Brick5, Herklotzgasse 21, 1150 Wien(U6 Gumpendorferstraße, U4/U6 Längenfeldgasse, 6, 18, 57A, 12A)pay as you wish // reservation recommended under contact@imflieger.netAna Vagana is a fabric embodied by creation, femininity, motherhood, and blood. Her body speaks through texts by Hélène Cixous and Luce Irigaray, paints with the inspiration of Judy Chicago, and recites Dominique Cristina’s ‘Period Poem’.
Ana Vagana exchanges symmetries in the body moving on the horizontal. She moves close to the ground and offers possibilities to be born, to renew, to be ancient, biblical, to be nature, to be a landscape. To give life. To give birth. To bleed. To call all that is repressed and waiting to return with all its glory into a matriarchal world of flesh, bones, and blood cells. Remembering the body being inside a body, being two, being inseparable, and being separable, and giving more life, and more.

Les Landes – letters from trees to Hélène Cixous
The place of writing is never one. Writing exceeds place, space, bodies, subjects, authors, readers, and goes beyond communication. Writing exceeds, the written text exceeds, every sign exceeds. Writing thus contains the immanent tendency to cross – to trans-fer, to trans-gress, to trans-form and trans-posit. Being asked how to read her textes, Hélène Cixous only recently answered, that reading would perhaps mean to fly through and over les landes, one of the biggest forests in France. The lecture-performance wants to follow this invitation and will read in flying through the forests: listening to sounds of the woods & receiving letters from trees to Hélène Cixous.

Anat Danieli is a choreographer with a body of work that spans more than twenty years, and the founder and artistic director of Kelim Choreography Center. Her work spans contemporary dance, education, community, and politics of the body.
Anat began her choreographic career in 1990 and have created for Batsheva Dance Company, Batsheva Ensemble, and the American Dance Festival, among others. From 1994–2007 directed the Anat Danieli Dance Company. Anat’s works have been presented at festivals and theaters all over Israel, Europe, USA, and Japan. She is the recipient of: a 2007 Rosenblum Award for Performing Arts; 2006 Ministry of Culture Award; 1996 Ministry of Culture award for young artist of the year in the field of dance; and first prize Shades in Dance 1990.
In 2008 Anat gave herself the award of taking a break from producing new works to found Kelim. She returned to her own choreographic work a few years later and have since created ‘Repetitions of parts from me’ for a museum gallery, ‘Movement material’ in which she critically re-perform her previous works, and others.

Omer Uziel (IL) began dancing professionally after serving as a parachuting instructor in the IDF and during BA studies in psychology. He danced in the former De de Dance Company under the direction of Amit Goldenberg and Yaara Dolev. After two years he began to work with independent choreographers including: Yuval Goldstein, Maya Brinner, Anat Katz, Maya Levy, Efrat Rubin, Uri Shafir, Or Marin, Avigail Rubin, and Anat Danieli. He participated in the Kelim Choreography Center two-year program under the direction of Anat Danieli and has completed training in the Ilan Lev method. His choreographic work has been presented in IntimaDance at Tmuna Theater and Shades in Dance at the Suzanne Dellal Centre. He participated in the “Dancer in the Community” project with the support of the Ministry of Culture and Sport, where he taught adult movement lessons at the Akko Day Center for the Elderly. He currently performs professionally and teaches dance and movement as is a therapist.

Yael Venezia (IL) is a composition mentor, dramaturg, rehearsal manager, dancer, feldenkrais teacher and Ilan Lev therapist. She received her M.A from the Lesley College. She was a dancer in Kei Takei’s New York-based company Moving Earth, Synapa Dance Group, and Anat Danieli Dance Company. She was the rehearsal manager for the BatSheva Dance Company and Maslool Professional Dance Program. She served as artistic director of Muza Dance Company was the artistic initiator of several collaborative composition projects. She currently works with Anat Danieli on various projects and teaches composition at the Seminar haKibbutzim. She also serves as a dramaturg for choreographers such as Niv Sheinfeld & Oren Laor, Michael Getman and Project 48 curated by Dana Ruttenberg. Yael is also a member in Mifal HaPais Council for the Culture and Arts.

Ofer Laufer (IL) is a freelance lighting designer and technician working primarily in contemporary dance. He studied film- making at Sapir Academic College and has a B.Ed in Industrial Design from Holon Institute of Technology. Has worked with choreographers such as Arkadi Zaides, Yossi Berg and Oded Graf, Yasmeen Godder, Iris Erez, Noa Shadur, Hillel Kogan,Talia Beck, Ido Feder and Uri Shafi , among others. He also works with visual artists including Amit Drori, Nava Frenkel, Zvi Sahar, Yair Vardi, and Shahar Marom. Has taken part in many dance festivals in Israel and around the world. His designs have appeared in many acclaimed performances and festivals including: Curtain Up Festival for Tami Leibovitz, Ido Feder, and Uri Shafir; Israel Festival for Yonatan Levi; the bands Cut Out Club and Jane Bordeaux.

Elisabeth Schäfer (AT) is a queer feminist philosopher, living in Vienna. She is affiliated to the Department of Philosophy at the University of Vienna, where she teaches since 2010, and the University of Applied Arts Vienna. Her main research and teaching areas include: Deconstruction, Queer-Feminist Philosophy, Écriture feminine (Trans*Writing), thinking the body, Performance Philosophy. From 2014–2017 she hold a Postdoc position in the research project “Artist Philosophers. Philosophy AS Arts-Based research” sponsored by the Austrian Science Funds FWF [AR 275-G21] at the University of Applied Arts, Vienna, Principle Investigator: Arno Böhler. Her current research project is: „Trans*Writing. Immanence and Transformation. Towards a Political, Ethical and Aesthetical Theory of Writing as Artistic Research“.
Together with Esther Hutfless and Gertrude Postl she edited the first german translation of The Laugh of the Medusa by Hélène Cixous (Passagen Verlag 2013, 2017) and in 2017 she co-edited together with Esther Hutfless Cixous’ essay Writing Blind. Conversation with a Donkey in German (Zaglossus 2017)

CHANGINGSPACES Vienna/Tel Aviv is an artist-in-residence exchange-project for dance and choreography, initiated in 2015 as long term exchange and cooperation between two independent cultural actors – Im_flieger/Vienna and Kelim/Israel. The cooperation in the year 2018 focuses on the exchange of experienced artists and the discourse between the artists sharing their working methods with the local communities. Anat Danieli (IL) and Elisabeth Schäfer (AT) present artistic positions based on writings by Hélèn Cixous (FR), one of the most representatives of the Écriture Féminine**.
Daniel Aschwanden (CH/AT) is invited with his work Goldberg365 as part of the March Hare Festival 2018 in Israel. In addition to performances in public space and a workshop, he enters into a public dialogue with Julian Hamilton.CHANGINGSPACES Vienna/Tel Aviv 2018 is supported by the Austrian Cultural Forum Tel Aviv and Bundeskanzleramt Kunst/Bilateraler Künstleraustausch

*Hélène Cixous (*1937) is professorin, french feminist, poet, playwright, philosopher, literary critic and rhetorician. Cixous is known for her article “The Laugh of the Medusa” which established her as the mother of poststructuralist feminist theory. She founded the first european center for feminist studies at the Centre universitaire de Vincennes/University Paris (today University Paris VIII).

**„Écriture Féminine is recognized as a particular feminist movement and form of intervention at the interface of academic, poetic and politically practical standards as well as theoretically higly shaped by difference-based feminism, psychoanalysis and deconstruction.“ (Elisabeth Schäfer, interview with Passagenverlag)

For this open rehearsal Thomas Steyaert and Raúl Maia would like to share some of the raw materials related to the creative process of their new work (to be premiered in WUK theatre on the 18th of January 2018). In this 3rd stage work they are focused on how their long-term artistic practice of non-representational physical communication can be reduced/transformed, to the extent of becoming an almost sculptural form of performance. As if it would be possible to inhabit the interior of a still image and communicate from within it.
An invitation to share and discuss working methods and artistic principles with anyone interested in creative processes.

Raul Maia is a Portuguese dance/performance artist based in Vienna. His focus as a dance maker is in creating frames for physical behaviour practices between performers, from which physical language can arise and be re-contextualized into an artistic object. He splits his time between his own work and his ongoing artistic collaboration with Belgium choreographer Thomas Steyaert. His work has been shown in festivals and houses such as ImpulsTanz (at), Xplore dance Festival (ro), Potsdam Tanzfabrik (de), Idans Istanbul (tur), Tanzquartier (at), WUK (at) und Brut (at).

Thomas Steyaert is a movement artist, based in Sarajevo and Brussels. He participated in several projects of Ultima Vez / Wim Vandekeybus and created performances in Europe and beyond. Since 2009 Thomas Steyaert is working with Raul Maia on an ongoing artistic process based on the development of a real-time, non-representational kinetic movement system.

Im_flieger IN_FORSCHUNG
STOFFWECHSELWERKSTATT /ARTIST’s SPACE

INTERVENTIONS

Wed, 11th Oct. 2017 // 8 p.m. // Ethik der Körper – dialogic lecture / Arno Böhler (AT) & Susanne Granzer (AT)
One body is no body, because bodies only exist in relation to other bodies – singular plural. If we think bodies as a form of being-with with others, they always already appear as the exposed moment of a world-wide fabric to which they belong. If a body’s life does not end at the surface of its physical form, then the question arises: where doe the limits of experienced corporality end?
The stage as a place of physical exposure may be able to point out a possible answer to this question. It exhibits the bodies’ exposure, shows their vulnerability which it always has put before the face of others in a plea to treat them with respect and consideration. Such a plea refers to an actually existing body addressing themselves to others. Thus, it is both in one: ethical, and aesthetical.

Arno Böhler (AT) is assoc. Prof. at the University of Vienna, Department of Philosophy and founder of the philosophy performance festival “Philosophy On Stage”. Currently he heads the research-project (AR275-G21) „Artist-Philosophers. Philosophy as Arts-based-Research“ (2014–2017) at the University of Applied Arts Vienna, sponsored by the Austrian Science Fund (FWF). He was invited as a visiting professor at the University of Vienna, the University of Music and Performing Arts Vienna, at the University of Art Bremen and at the University of Applied Arts in Vienna and was a research fellow at the University of Bangalore, New York University and the University of Princeton. He is also the director of the research centre BASE – Art / Philosophy / Ecology Pvt.Ltd India in Tamil Nadu.

Susanne Valerie Granzer (AT) , Univ.Prof.MMag.Dr.phil., actress (Basel/Düsseldorf/Frankfurt/Berlin/Wien), art professor at the University of Music and performing arts Vienne / Max Reinhardt Seminar. Philosophy studies at the Goethe-Universität Frankfurt as well as University Vienna. Final degree 1995. 1997 Foundation of wiener kulturwerkstätte GRENZ_film together with the philosopher Arno Böhler. Several lecture performances at home and abroad. Cofounder of the festival „Philosophy On Stage“.

Mon 16th Oct. 17 / 8 p.m. // ) ( ) ( / Experimental arrangement / Nikolaus Gansterer
In his artistic practice Nikolaus Gansterer deals with issues regarding the notation of perception processes and the emergence of sense and the sensual. By way of an experimental test arrangements consisting of objects, texts and timing devides, Gansterer will reflect upon important points of reference of his diagrammatic approach, and invite visitors to aktivate and test his installative score in the room step by step. The sculptor and performer is especially interested in the question how objects can be extended along the categories of space and time, movement and imagination in order to undercut the imaginary boundaries betwen thought and matter, work, environment, and recipient.

Nikolaus Gansterer (AT), born 1974, living and working in Vienna. He studied Transmedia Art at the University of Applied Arts in Vienna and completed his studies at the Jan van Eyck Academy at Maastricht in The Netherlands. He is co-founder of the Institute for Transacoustic Research and the sound collective The Vegetable Orchestra. He currently is guest professor at the Zentrum Fokus Forschung at the University of Applied Art in Vienna. As an artist, performer, and researcher Nikolaus Gansterer is deeply interested in relational field between drawing, thinking and action. In form of installations and performances he traces the translatability of phenomena of perception into an artistic environment. In his transmedial work, he focuses on mapping ephemeral and emergent processes unfolding their immanent structures of interconnectedness, questioning the imaginary threshold between nature and culture, art and philosophy. Gansterer’s fascination with the complex character of diagrammatic figures has led to his book Drawing a Hypothesis on the ontology of shapes of visualizations and on the development of the diagrammatic perspective and its use in contemporary art and science. From 2014 – 2017 Nikolaus Gansterer is leading key researcher of the inter-disciplinary artistic research PEEK-project Choreo-graphic Figure: Deviations from the Lines developing innovative systems of notation between the lines of drawing, writing and choreography.

JACKHAUSER (AT) was born in 1958 in Horn / Lower Austria. After working as a chemist he studied from 1983 to 1986 electro-acoustic music in Vienna. 1994 foundation member of the performance band Lux Flux. Since 2003 co-operating with Milli Bitterli, 2014 /15 he develops together with Lisa Hinterreithner the performance-series “The Call of Things”. And since 2005 numerous joint projects with Sabina Holzer. Constructs performative interventions and experimental works with various matter which since 1999 have been run and attended to as “Wohnung Miryam van Doren” (“Apartment Miryam van Doren”). Exhibited at Lentos Kunstmuseum Linz, Documenta(13) Kassel, Hidden Museum Fraxern, MachfeldStudio Wien, Museum Essl Klosterneuburg, Fluss NÖ Foto Wolkersdorf, Various Artist Berlin and at Private Places. In recent years collective, co-operative artistic projects with Daniel Aschwanden, Thomas Ballhausen, David Bergé, David Ender, Karlheinz Essl, Philipp Gehmacher, Satu Herrala, Anne Juren, Krõõt Juurak, Inge Kaindlstorfer, Barbara Kraus, Elke Silvia Krystufek, Machfeld, Roland Rauschmeier, Jeroen Peeters, Markus Schinwald, Oleg Soulimenko, Myriam Van Imschoot, Simon Wachsmuth and others. Member of the editorial staff of www.corpusweb.net.

SABINAHOLZER (AT) is a dance and performance artist and a writer based in Vienna. She worked in projects with Robert Steijn (NL), Fabian Chyle (D), Bilderwerfer (AT), Toxic Dreams (AT), Vera Mantero (PT), Philipp Gehmacher (AT), Lux Flux (AT), Machfeld (AT) and Milli Bitterli (AT), Jeroen Peeters (B). In 2005 she has started cooperating closely with the fine artist Jack Hauser. Together they create performances, interventions in public space and galleries as well as in theaters and museums, such as the Tanzquartier Wien; Lentos Museum of Modern Art, Linz; WUK; Essl Museum; Hidden Museum; Documenta 13 and University of visual Arts Vienna. She organizes and is invited for transmedial-settings and collaborative research projects at the intersection of theory and practice internationally.

KILIAN JÖRG (DE/AT) works at the multimedial interfaces between philosophy and art. For this purpose he employs the expression of text as well as those of installation, performance, and music. He works as a DJ, is founder of the collektive philosophy unbound, and operates in Vienna, Berlin, and Brussels. His main field of research is that of ecological epistemology.

Sun 22nd Oct. 17 / 4 p.m. // THEDANCINGMANUSCRIPT / Lecture / Elisabeth Schäfer
Writing, living, writing, living. To and from. Are they mutually exclusive? Do they include each other? There are those who maintain that writing always is withdrawal. But where to, and where from? Right in the thick of it with paper, laptop, etc. More alive than at any other time. Inscribes the future: a dancing manuscript.

Elisabeth Schäfer (DE/AT) is affiliated to the Department of Philosophy at the University of Vienna, where she teaches since 2010, and the University of Applied Arts Vienna. Her main research and teaching areas include: Deconstruction, Queer-Feminist Philosophy, Écriture feminine (Trans*Writing), thinking the body, Performance Philosophy.
From 2014–2017 she holds a Postdoc position in the research project “Artist Philosophers. Philosophy AS Arts-Based research” sponsored by the Austrian Science Funds FWF [AR 275-G21] at the University of Applied Arts, Vienna, Principle Investigator: Arno Böhler. Her current research project is: „Trans*Writing. Immanence and Transformation. Towards a Political, Ethical and Aesthetical Theory of Writing as Artistic Research“ (submitted as Elise Richter PEEK / Austrian Science Funds FWF / [V635]).

Tue 24th Oct. 17 / 8 p.m. // On surface tension of artistic research: reflection and interference /Performative Reading / Mariella Greil
Artistic research is possible, because art – and in my case the choreographic, dance and performance – manifest elastic behaviour and are liable to a dynamic different from artistic production or science. It generates a knowledge that lingers, does not (yet) know to do something “productive” and so far has behaved somehow idly or attempted to take other paths of understanding. The metabolism between artistic and scientific strategies is explored. Often there are accidents or coincidences that create landing sites for new knowledge. A narration on how language was searched, found and got lost again, arising as an epistemology of actions, weaving the various threats of agencies together.

Mariella Greil (AT) studied at the European Dance Development Center at the Hogeschool voor de Kunsten Arnhem and works in the fields of dance, choreography and artistic research with a focus on choreographic means in its expansion and somatic practices as compositional tools. She was Key researcher in the artistic research project Choreo-graphic Figures. Deviations from the Line, 2014–2017, funded by the Austrian Science Fund FWF/PEEK. Previously, she was Associate Researcher of performance matters in London and Senior Editor of the e-journal activate.
She has performed in works by Boris Charmatz, Barbara Kraus, LIGNA, Jan Machachek, Doris Stelzer, Meg Stuart and her own work. She is active in the artists’ initiative Sweet&Tender Collaborations as she is interested in forms of collaboration and ethics of togetherness. Greil was artistic advisor for the conception of the 5th Dance Education Biennale 2016 and lectures internationally. With Vera Sander she co-edited the book (per)forming feedback (2016) and with Nikolaus Gansterer and Emma Cocker the book Choreo-graphic Figures. Deviations from the Line (2017) a hybrid of an artists’ book and research compendium.

Wed 25th Oct. 17 / 5.15 p.m. // Innehalten. Umherziehen. #3/ Walk / Claudia Heu & Axel Brom
What kind of unknown, perhaps even forgotten spaces open up when we go with the flow of time and with what it brings along? What could happen? What would we come across? What may come from it?
Claudia Heu and Axel Brom roam about the city of Vienna for several weeks and practice pausing and roaming. For this purpose they invite friends, colleagues, guests and strangers. The crowd of companions grows.
This is another invitation.

Stoffwechsel – Ecologies of Collaboration is a biennial transmedia research project with differently involved artists and theoreticans, experimenting with structural and artistic entanglements.

Roaming // Claudia Heu (AT) & Axel Brom (AT)

…And suddenly a pathway beckons from above. Forcefully. (Claudia)
My body is captured in the image that the world offers me at the moment. (Axel)

Claudia Heu and Axel Brom invite friends, acquaintances and strangers. What still undiscovered, possibly forgotten rooms open up when we align ourselves with the timeless and with what time drops into our arms. What happens, what occurs, when our bodies look and our senses move.We recommend to come without a bag/pack or keep it light.

During the workshop, we will focus on the principles of polyphonic singing from Corsica and Sicily and work with specific modes and songs. Unlike a choir, polyphonic singing obeys to the rules of own initiative. There is no conductor, the construction is organic and collective. Each voice has a specific role (bassa supports, secunda leads, terza pulls). The song appears through voices being autonomous and evolving a-parallely. There is an interactivity, a constant negotiation between the individual and the collective; the “one”, alone, and the “three” of polyphony.

Jack Hauser (AT) was born in 1958 in Horn / Lower Austria. After working as a chemist he studied from 1983 to 1986 electro-acoustic music in Vienna. 1994 foundation member of the performance band Lux Flux. Since 2003 co-operating with Milli Bitterli, 2014 /15 he develops together with Lisa Hinterreithner the performance-series “The Call of Things”. And since 2005 numerous joint projects with Sabina Holzer. Constructs performative interventions and experimental works with various matter which since 1999 have been run and attended to as “Wohnung Miryam van Doren” (“Apartment Miryam van Doren”). Exhibited at Lentos Kunstmuseum Linz, Documenta(13) Kassel, Hidden Museum Fraxern, MachfeldStudio Wien, Museum Essl Klosterneuburg, Fluss NÖ Foto Wolkersdorf, Various Artist Berlin and at Private Places.
In recent years collective, co-operative artistic projects with Daniel Aschwanden, Thomas Ballhausen, David Bergé, David Ender, Karlheinz Essl, Philipp Gehmacher, Satu Herrala, Anne Juren, Krõõt Juurak, Inge Kaindlstorfer, Barbara Kraus, Elke Silvia Krystufek, Machfeld, Roland Rauschmeier, Jeroen Peeters, Markus Schinwald, Oleg Soulimenko, Myriam Van Imschoot, Simon Wachsmuth and others. Member of the editorial staff of www.corpusweb.net.

Claudia Heu (AT) works internationally as a choreographer, performer and lecturer. Her work focuses on site-specific performances and installations. In her co-operation with Jeremy Xido in the artist collective CABULA6, she developed a work understanding that shows the potential to make the ‘invisible’ visible in the work of art, and to create areas of experience in which reflection is provoked by participatory action. Varied artistic collaboration, among others. Igor Dobricic, Michael Pinsky, Ayad Akhtar Stehle, Barbara Kraus, Jack Hauser, Sabina Holzer, Martin Sonderkamp, ​​Gerhard Filei, Lisa Hinterreithner, Zoe Knights, Amanda Piña and Daniel Zimmermann. In co-operation with Roland Schmidt, in 2014, she began the research project “We are our time” at the invitation of tanz_buero Salzburg, a place where art and life, ecological economy, solidarity and resistance flow into one another. Her recent works led Claudia to Ulan Bator, the United States (The Keep) and Israel (lanes). For 2018, she plans an audiovisual installation in the Gobi Desert (Alga Bolokh III – The Disappearance). Currently, she works within the framework of metabolism – ecologies of cooperation, a 2-year transmedial research project initiated by Im_ Flieger.

In the field of embryology—a subdiscipline of developmental biology—the very first week after the conception of a human being takes on a special significance: At this time the very first design principles come into effect. Three female artists set off at the interface of dance, performance, sound, language and science on the trail of structures that run through our entire lives.
Where does our human existence actually begin? With birth? With the formation of the brain? One generally speaks of a human being as of the eighth week after conception. Yet what happens before that, as of the “zero hour,” as of conception? It is known that already when the first cells divide rhythm and orientation in space play a part. These ordering principles remain anchored in the body cells. Fascinated by these processes, the actress Alexandra Sommerfeld (AT), together with the two dancers/choreographers Anna Sedlačková (SK) and Helena Nicolao (D/CH), pose the question of the effects of this development on our lives today. The women artists embark on a search for traces of the very first structures and their echo in current life in order to translate them into movement and language. A soundscape with compositions by Günther Rabl and François Bayle provides an acoustic frame to the performance while Veronika Tupy’s stage design and the costumes of Dorota Cigánková supply the optical frame.

Foto: Lucia Kovalová

The Ensemble
The performers got to know each other during a four-year somatic training program. Their common background as performing artists, but also their similar questioning of social developments, as well as the deep interest in movement analysis as an empirical method brought them together eye to eye as a team and called forth the desire to further pursue the theme of prenatal identity between the poles of individual self-discovery and cultural imprinting in it´s artistic implementation.

Alexandra Sommerfeld (AT) (*1961 in Scheibbs) is an actress and performer from Austria. She studied acting at Max Reinhardt Seminar, Vienna. She is a certified Body-Mind Centering Practitioner® and Infant Developmental Movement Educator. She has always been interested in experimental theater forms. Lately she has collaborated with different formations such as theatercombinat (Claudia Bosse) and theater.punkt (Sabine Mitterecker). Since 1998 she collaborates with the composer Guenther Rabl (canto-crudo, ElectricOrpheusAcademy), and works as consultant for body and voice.

Anna Sedlaçková (SK) (*1962 in Bratislava) is a dancer, choerographer and teacher being part of the contemporary dance scene in Slovakia since 30 years. She is a certified Body-Mind Centering Practitioner® and Infant Developmental Movement Educator. It became an integral part of her work with babies/children, her teaching and her artistic work. She teaches Cunningham Technique, Contact Improvisation and Experiential Anatomy at the University of Performing Arts in Bratislava.

François Bayle (F) (*1932 in Tamatave, Madagaskar) is a pioneer of French electroacoustic music. Being the director of GRM (‘Groupe de Recherches Musicales’ Radio France) he coined the international scene of electronic music via compositions, concerts and theory. In the 70ies he founded the ‘Acousmonium’, an instrument with more than 80 loudspeakers specially designed for performing fixed media music. ‘Tremblement De Terre Très Doux’ is a tape composition from the cycle ‘Erosphére’ (1978).

Günther Rabl (AT) (*1953 in Linz) played double bass in his early years as part of various ensembles playing Jazz and improvised music, one of them was the trio with Friedrich Gulda and Ursula Anders. In the early 1980ies he solely engaged in tape compositions and later on in music for computer, for which he developes his own software. He runs his own CD label canto crudo and in 2011 he founded the Electric Orpheus Academy in Waldviertel. His first opus ‘Mugl Entsteigt’, a tape composition, was premiered in 1977 by François Bayle in Paris and is an integral part of the international repertoire ever since. www.canto-crudo.at

Shortly after fertilisation, the first instances of cell division form three layers, three bodies from which subsequently our body unfolds. These early structures are anchored in our cellular memory. With the help of images and appropriate guidance, we are able to go back in our body memory and enter spaces we formerly used to inhabit. In this, our subjective perception is no less significant than the objective, universally valid knowledge about this stage of development.
In this workshop we are working with delving into these memories, at the same time investigating how to achieve an artistic expression of these body-immanent spaces, shapes, and processes.

And suddenly a pathway beckons from above. Forcefully. (Claudia)
My body is locked captured in the image that the world offers me at the moment. (Axel)

Claudia Heu and Axel Brom are moving through Vienna, practicing pausing in roaming. They invite friends, acquaintances and strangers. What still undiscovered, possibly forgotten rooms open up when we align ourselves with the timeless and with what time drops into our arms. What happens, what occurs, when our bodies look and our senses move.

Foto: Martin Fabini

Claudia Heu (AT) works internationally as a choreographer, performer and lecturer. Her work focuses on site-specific performances and installations. In her co-operation with Jeremy Xido in the artist collective CABULA6, she developed a work understanding that shows the potential to make the ‘invisible’ visible in the work of art, and to create areas of experience in which reflection is provoked by participatory action. Varied artistic collaboration, among others. Igor Dobricic, Michael Pinsky, Ayad Akhtar Stehle, Barbara Kraus, Jack Hauser, Sabina Holzer, Martin Sonderkamp, Gerhard Filei, Lisa Hinterreithner, Zoe Knights, Amanda Piña and Daniel Zimmermann. In co-operation with Roland Schmidt, in 2014, she began the research project “We are our time” at the invitation of tanz_buero Salzburg, a place where art and life, ecological economy, solidarity and resistance flow into one another. Her recent works led Claudia to Ulan Bator, the United States (The Keep) and Israel (lanes). For 2018, she plans an audiovisual installation in the Gobi Desert (Alga Bolokh III – The Disappearance). Currently, she works within the framework of metabolism – ecologies of cooperation, a 2-year transmedial research project initiated by Im_ Flieger. www.claudiaheu.com

And because the performer and author Sabina Holzer’s engagement with writing and materiality has led to body and movement, has led her into the unexpacted, let her into temptation, led her through; this has led to – an invitation. An invitation to try something. Writing the space, for instance. Developing a common texture. A cast. With and without wands.
Sabina Holzer investigates the possibilities of creating a situation in which a joint sensitisation for space and time – and thus for togetherness – can take effect. Situation here should be understood as “situation of…”, i.e., without explicit reference to a subject. Rather, the reference is to something situated – seated, put, affected – and our personal movements with these circumstances. Thus this togetherness also is an engagement with presences and absences, and their interplay.

SABINAHOLZER (AT) is a dance and performance artist and a writer based in Vienna. She worked in projects with Robert Steijn (NL), Fabian Chyle (D), Bilderwerfer (AT), Toxic Dreams (AT), Vera Mantero (PT), Philipp Gehmacher (AT), Lux Flux (AT), Machfeld (AT) and Milli Bitterli (AT), Jeroen Peeters (B).She organizes and is invited for transmedial-settings and collaborative research projects at the intersection of theory and practice internationally. Since 2007 she publishes and performs texts in relation to performance and contemporairy dance in various medias. In 2005 she has started cooperating closely with the fine artist Jack Hauser. Together they create performances, interventions in public space and galleries as well as in theaters and museums, such as the Tanzquartier Wien; Lentos Museum of Modern Art, Linz; WUK; Essl Museum; Hidden Museum; Documenta 13 and University of visual Arts Vienna. www.cattravelsnotalone.at

IF I HAD A HAMMER… is about the appropriation and fantasy of male sexuality.
The two performers empower themselves in a lustful way questioning everyday ́s gender performance.
You may ask why I do it. Because I can!

The spaces that are created oscillate between intimate fantasies about the physical body and potential fields of action through the social body. The perception of gender is constructed, destructed, transformed. At he same time the audience is addressed – working out power situations and consensus.
The penis is researched as body part, tool, contact medium or as means of expression during sex; The all day penis, the (un)controlled penis, it´s social and physical roles and its relationships.
“I´m waiting for my cock to grow. (…) I´m waiting for the power, the recognition, the lust…” (TESTO JUNKIE, Paul B. Preciado)
The research material in the center are interviews by 15 women (age 29–65), which images and sound melt into the performance.

Johanna Nielson and Julia Danzinger know each other for over 10 years, sharing again and again research moments that deal with the reflection and discoveries of differentiated physicalities. IF I HAD A HAMMER … is their first collaboration.
Stefan Voglsinger and Julia Danzinger collaborated already in 2014 for the performance and the corespondent festival „Drifting Towards Non_Existence“.

Julia Danzinger (AT) lives and works in Vienna as freelancing performer, dancer and choreographer. She received her diploma in cultural and social anthropology at Vienna university (2010) as well as a diploma for movement pedagogy (2015, Chladek®-system). She performed for SUPERAMAS (History of Violence, Impulstanz 2015) and collaborated aside her solo works with the multimedia artist Serena Lee (CA) at Kunstraum Niederösterreich, the sound artist Quentin Conrate (FR) at the Rhiz and the installation artist Florian Fusco (DE/AT)/ for TQW Werkstück. Recently, she received a Wildcard residency by LifeLongBurning/ danceWEB at the ICI Montpellier that led into a performance. 2013 she received the grant Startstipendium by bm:ukk, 2014 a grant by Fohnstiftung and 2015 the danceWEB scholarship. 2012 she founded the performance collective „Wirbelnde Weiber“ for women +50 which produces each year a performance. Since 2015 she commits herself to the networking of artists – she co-founded the online platform dasfundus.net.

Johanna Nielson (AT) is a dancer, performer and pedagog, based in Vienna. Her artistic activities and practices vary from solo projects like Mirror, Kein Anfang keine Pause kein Ende or Into my arms, oh no!, directed into your arms and participating in group performances like Bodies in urban space (Cie. Willi Dorner), WARWAS (Celle), Dance and Resistance (nadaproductions) or Critical joy (Peaches and Keith Hennessy), to developing alternative artistic events such as RUMPULS – Vienna Irrational Performance Festival. In interdisciplinary collective processes she also develops performances such as Attila, LOVETALK, Clause 19. Force Majeure or Bach hat einen Traum. After she finished her studies of contemporary dance and dance pedagogy at the Institute of Dance Art at the Anton Bruckner Privatuniversität Linz in 2014 she continued trainings and workshops at the ImpulsTanz Festival and Tanzquartier in Vienna. Since 2015 she is a member of the ttp (tanz theater performance) in WUK. Johanna is also a committed teacher and facilitates whole-body-experiences with children, adolescents and adults.

Stefan Voglsinger (AT) (*1986) is an austrian musician and performer. Voglsinger is exploring sound on stage, in the studio and in the field, as well as improvising and composing activities for music, film, dance and theatre projects. He organizes Circuit Cooking soldering workshops with a focus on circuit bending, analog synthesizer & distortion circuits and piezo objects. Voglsinger performs with amplified objects, Super8 and 16mm projectors, drums and electronics. At Setzkasten Wien he organizes and curates regularly exhibitions and performances

We will practice elements of Core Strength Vinyasa Yoga to emphasize muscles deep within the body, (like pelvic floor, psoas and quadratus lumborum) in order to build the support for the body from within. The breath will be our guide to unfold our positions and awareness through movement will help us to connect our mind with the wisdom and joy of our body to guide us through the days.
There are some yoga mats available. If you have one, please bring it along.

RESIDENCY@Im_flieger
MUSTER // Lisa Hinterreithner (AT)

The artist and performer Lisa Hinterreithner explores visual, spatial, and physical patterns as alterable events. Space, materials and human bodies are approached as abstract-poetical scenes of patterns.
According to the art theoretician Annette Tietenberg, patterns are suitable for non-verbal communication systems. How does this apply within an artificial situation such as, e.g., a performance? Can patters function as a “social bond” between space, performer, and audience by transferring, combining and transforming them?
The Residency is part of a project on the theme of patterns, which the performance artist Lisa Hinterreithner is developing together with the visual artist Lilo Nein. A live performance will be given in Winter in collaboration with the musician Elise Mory.

Lisa Hinterreithner addresses in her performances and installations body, text, images and objects. Her work takes place on stages, in galleries, in the woods and on paper. Her latest performances include Do-Undo (Galerie 5020, Salzburg) in January 2017, It might be windy, it will be dark in cooperation with Laura Navndrup Black (tanz_house festival 2016, the rat, Salzburg), Letting go of Things (Performing New Europe Festival 2016, republic, Salzburg), the series of performances The Call of Things (amongst others at Tanzquartier Wien, Galerie 5020 and ACF London) as well as the performance Mezzanin (ImpulsTanz Festival) in 2014/15 with Jack Hauser. Together with Martina Ruhsam she created in 2014 the work A scripted situation (amongst others at Tanzquartier Wien 2015) which was awarded with the ‘Landespreis für kulturelle Bildung 2016’, Salzburg. She is teaching creative research at SEAD (Salzburg Experimental Academy of Dance), at the University of Vienna and at the Den Danske Scenekunstscole, Copenhagen. With Elfi Eberhard she curates since 2007 the research platform tanzbuero. In 2014 she received a Master (MRes) in Performance and Creative Research from Roehampton University/London.

Regarding the Question inquires the relations between the Idea and its concrete presentation in an artistic process, it questions the intercourse between the inner and the surface, between the existential loneliness of the singular I, as entity and one, and its striving for he other.

Loulou Omer (IL/AT) is a choreographer, dancer, musician and poet. Born in Tel Aviv, she has lived and worked for many years in Europe, and since 2016 is living in Vienna with her family. By exploring diverse artistic fields, progressing from the one to the other, she questions conceptions of esthetics, in particular under the aspect of the Multitude as opposed to the One, the Alterity as opposed to the self, Diversity as opposed to Identity.

Eni Brandner (AT) (*1981 Innsbruck/Tyrol) is a filmmaker and video artist who lives and works in Vienna. After studying multimedia art (FH Salzburg) and classical animated film (Academy of Fine Arts Zagreb), she now mainly is engaged in finding experimental approaches in connection with creating narratives in the interdisciplinary field between performing arts, music, and film.

In the frame of a 24 hour reading in the studio of the art-platform Im_flieger Daniel Aschwanden is going public fort he first time with all the protocols of his urban performance project Goldberg 365 which he used to run nonstop one year in a row spontaneously and unannounced in Vienna´s public space but also in cities like Zürich, Beijing or Chongqing. Where ever he found himself located, he was dedicated to realize a daily performance. The performer played with the image of an artist – shaman as a detector whose self perception formed the base of a non linear survey sounding out the invisible, the not outspoken and setting relations of the un-defined into contrast with the premises of the urban surrounding.

Photo: Helga Köcher

Daniel Aschwanden (CH/AT) performer and choreographer based in Vienna. Where art meets the social: performative interventions in urban contexts, hybrid formats in public space in Europe, Asia, Africa. Body as an interface for cultural exchange using a variety of media practices in public space, black boxes and white cubes, connecting to digital space by smartphone.

Fri 10th of March 2017// 7pm Metrokino, Johannesgasse 4, 1010 Wien
In the frame of the exhibition opening & film screening: VALESKAGERT: GESICHT – KÖRPER – BEWEGUNG (10th of March – 2nd of April 2017)/Filmarchiv Austria

In the first retrospective dedicated to her as well as an accompanying exhibition, Filmarchiv Austria presents the work of the avantgardist Valeska Gert, who made body, face, and voice alike instruments of her expressive art, finding exemplary ways to express the upheavals and dislocations of the 20th century.

We will practice elements of Core Strength Vinyasa Yoga to emphasize muscles deep within the body, (like pelvic floor, psoas and quadratus lumborum) in order to build the support for the body from within. The breath will be our guide to unfold our positions and awareness through movement will help us to connect our mind with the wisdom and joy of our body to guide us through the days.
There are some yoga mats available. If you have one, please bring it along.

Leonarda Cianciulli (1893 – 1970) is known as “La Saponificatrice di Correggio” – the soap maker of Correggio. Driven by superstition, she killed three women to save her sons from death in World War II and worked the corpses up as soap and pastries.
In the play Anna Heiss, Nora Pider and Sophie Wegleitner are ressurecting Leonarda through a performative invocation to question her about femininity and motherhood.
The premiere takes place on 8th of March 2017 in Anreiterkeller (Dekadenz), Brixen (IT).

comb with a silent b is a dance project between two people that emerges out of imagining what can come from taking more time. Through the choreography Asher O’Gorman and Tara Silverthorn imagine physically how it is possible to become less serious about the serious, and more serious about the less serious.

During the workshop, we will focus on the principles of polyphonic singing from Corsica and Sicily and work with specific modes and songs. Unlike a choir, polyphonic singing obeys to the rules of own initiative. There is no conductor, the construction is organic and collective. Each voice has a specific role (bassa supports, secunda leads, terza pulls). The song appears through voices being autonomous and evolving a-parallely. There is an interactivity, a constant negotiation between the individual and the collective; the “one”, alone, and the “three” of polyphony.

2016

THEGLORIOUSWEIRDNESS OF ART & COSMIC: LIVE
// Jack Hauser(AT)

Fault lines for a third space of performance (4th example)
In the context of STOFFWECHSEL – ecologies of collaboration

People incessantly create a shield that offers them shelter, drawing a firmament on its underside and writing their conventions and opinions on it; the poet, the artist though makes a slit into this shield, he even rips up the firmament in order to let a bit of free and windy chaos intrude, and in a sudden ray of light frames a vision which appears through the slit. (Deleuze/Guattari, From Chaos to the Brain)

The third space of performance is created not as an assertion, it arises as a fault line of the two layered continents VISUALART & THEATREART. Both continents have a varied experience with ephemeral materials and figurative or form union concretisations. Now the REAL moves these two continents toward each other. The resulting fault line reveals new landscapes.

JACKHAUSER (AT) was born in 1958 in Horn / Lower Austria. After working as a chemist he studied from 1983 to 1986 electro-acoustic music in Vienna. 1994 foundation member of the performance band Lux Flux. Since 2003 co-operating with Milli Bitterli, 2014 /15 he develops together with Lisa Hinterreithner the performance-series “The Call of Things”. And since 2005 numerous joint projects with Sabina Holzer.

Constructs performative interventions and experimental works with various matter which since 1999 have been run and attended to as “Wohnung Miryam van Doren” (“Apartment Miryam van Doren”). Exhibited at Lentos Kunstmuseum Linz, Documenta(13) Kassel, Hidden Museum Fraxern, MachfeldStudio Wien, Museum Essl Klosterneuburg, Fluss NÖ Foto Wolkersdorf, Various Artist Berlin and at Private Places.

THEHAPPENING // Tami Lebovits (IL)

In the solo piece THEHAPPENING Tami Lebovits stages herself as a reasonable being. A soloist body producing voice in a scenery of silent objects. The piece is a series of actions, kinetic and vocal sculptures, operated by coordination of mechanics and emotions. THEHAPPENING offers a transgression of the “self” as autobiographical, rather setting it as a format.

What is // Adriana Cubides (CO/AT)
Early stage research sharing

A search inside the body looking for its past, searching for its inscriptions, cultural imprints, belief systems, experiences, feelings and conditionings, with the wish to move forward without repeating the same patterns and paradigms, asking myself how to rewrite the body and give to the unknown with the same rules that condition us?

Im_Flieger LIVINGARCHIVE

DEARPERFORMANCELOVERS,
IT IS NOW 20 YEARSAGOTHATSOMEARTISTPERFORMERSFROMAUSTRIA & RUSSIABEGAN TO WORKTOGETHERMOSTLY AS LF & SBTFOR 5 YEARS.AFTER AN INITIALCALLFROMOLEGSOULIMENKO & JACKHAUSER WE ARECALLINGALL OF YOUNOW TO CELEBRATETHATBEGINNING.>> Video 20 years LF&SBT

SUNDAY 30th, 11 am
IN THEMORNINGANDREIANDRIANOWGIVES A LECTUREEASTMEETSWEST ON STAGE, OR HOWSAIRABLANCHE &LUX FLUXTRIED TO INFLUENCECONTEMPORARYDANCEFIELDWHICHWILLFLOWINTO A BRUNCHmore >>

SUNDAY 30th, 8 pmPERFORMANCE: SARALANNER BY LUXFLUX & SAIRABLANCHETHEATERSARAWILLPERFORMONE OF THEGROUP’S MANYPERFORMANCES IN HEROWNWAY.THEPERFORMANCEWASSELECTED BY LF & SBTWITHTHEHELP OF A LIST OF ALLTHEIRCOLLABORATIVEWORKS. EACH OF US COULDNAMETHREEPIECES. THEONEWHICHWASNAMEDMOSTOFTEN IS THEPERFORMANCEFORTHISEVENING. SARADIDINTERVIEWSWITHEVERYBODYINVOLVED IN THECHOSENPERFORMANCE. SHEWILLNOT RE-ENACT, SHEWILLTRANSDUCETHESEINTERVIEWSINTOHEROWNPERFORMANCE.SOONAFTER: DJ VANILLEPUPKINWILLBRINGGOODVIBES TO US ALL. CALL IT A CELEBRATIONmore >>

Tools and working materials of this two-day workspace opening are the artistic and discursive settings of the artists of the Stoffwechsel project, who have been researching since February, 2016. The respective working methods, motivations, and inspirations provide the workbenches for a possible permeation and parasitation; the Own which opens up to the Other, finds itself in the Other and thus provokes the ever fragile boundaries of authorship and collective process, of deallocation and appropriation.

With Alfred Lenz (AT), Anita Kaya (AT), Brigitte Wilfing (AT), Claudia Heu (AT), Sabina Holzer (AT), TE –R (Thomas Wagensommerer & Louise Linsenbolz, AT/DE) & INPUT by Philosophy Unbound (AT/DE)
&“Distributive agency. The political urgency of a new materialism and its implications for contemporary choreography”
Lecture in english language by Martina Ruhsam (AT/DE)
“The body refers to the materialist but also vitalist groundings of human subjectivity and to the specifically human capacity to be both grounded and to flow and thus to transcend the very variables – class, race, sex, gender, age, disability – which structure us. It rests on a postidentitarian view of what constitutes a subject. A nomadic vision of the body defines it as multi-functional and complex, as a transformer of flows and energies, affects, desires and imaginings.” (Rosi Baidotti)

in_FORSCHUNG@Im_flieger

THEGLORIOUSWEIRDNESS OF ART & COSMIC: LIVE // Marcus Steinweg (DE) as guest at Jack Hausers (AT)
Fault lines for a third space of performance (3rd example)
In the context of STOFFWECHSEL – ecologies of collaboration

People incessantly create a shield that offers them shelter, drawing a firmament on its underside and writing their conventions and opinions on it; the poet, the artist though makes a slit into this shield, he even rips up the firmament in order to let a bit of free and windy chaos intrude, and in a sudden ray of light frames a vision which appears through the slit. (Deleuze/Guattari, From Chaos to the Brain)

The third space of performance is created not as an assertion, it arises as a fault line of the two layered continents VISUALART & THEATREART. Both continents have a varied experience with ephemeral materials and figurative or form union concretisations. Now the REAL moves these two continents toward each other. The resulting fault line reveals new landscapes.

MARCUSSTEINWEG (DE / *1971 in Koblenz) is a German philosopher, who lives in Berlin.

Steinweg is currently a lecturer at the Academy of Fine Arts in Braunschweig. He worked for several years with the artist Thomas Hirschhorn. At Merve he publishes the magazine Inaesthetics which is located at the intersection of art and philosophy.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.
More info www.stffwchsl.net

Duration: 60–90min.
We recommend to come with no or light bags. Free Participation!

Foto: Martin Fabini

What kind of unknown, perhaps even forgotten spaces open up when we go with the flow of time and with what it brings along? What could happen? What would we come across? What may come from it?
Claudia Heu and Axel Brom roam about the city of Vienna for several weeks and practice pausing and roaming. For this purpose they invite friends, colleagues, guests and strangers. The crowd of companions grows.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.
More info www.stffwchsl.net

[... The subject does not belong to the world, it is a boundary of the world. Ardent. Aghast. ...]

THISCATCANPLAYANYTHING

[...]

SABINAHOLZER (AT) is a dance and performance artist and a writer based in Vienna. She worked in projects with Robert Steijn (NL), Fabian Chyle (D), Bilderwerfer (AT), Toxic Dreams (AT), Vera Mantero (PT), Philipp Gehmacher (AT), Lux Flux (AT), Machfeld (AT) and Milli Bitterli (AT), Jeroen Peeters (B). In 2005 she has started cooperating closely with the fine artist Jack Hauser. Together they create performances, interventions in public space and galleries as well as in theaters and museums, such as the Tanzquartier Wien; Lentos Museum of Modern Art, Linz; WUK; Essl Museum; Hidden Museum; Documenta 13 and University of visual Arts Vienna. She organizes and is invited for transmedial-settings and collaborative research projects at the intersection of theory and practice internationally.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.
More info www.stffwchsl.net

in_FORSCHUNG@Im_flieger

THEGLORIOUSWEIRDNESS OF ART & COSMIC: LIVE // Jack Hauser (AT)
Fault lines for a third space of performance (2nd example)
In the context of STOFFWECHSEL – ecologies of collaboration

directly related to INJECTION – About The Non Communicable – transitions and edges of the 3rd space, a symposium as a transdisciplinary laboratory and artistic work in AIL.

People incessantly create a shield that offers them shelter, drawing a firmament on its underside and writing their conventions and opinions on it; the poet, the artist though makes a slit into this shield, he even rips up the firmament in order to let a bit of free and windy chaos intrude, and in a sudden ray of light frames a vision which appears through the slit. (Deleuze/Guattari, From Chaos to the Brain)

The third space of performance is created not as an assertion, it arises as a fault line of the two layered continents VISUALART & THEATREART. Both continents have a varied experience with ephemeral materials and figurative or form union concretisations. Now the REAL moves these two continents toward each other. The resulting fault line reveals new landscapes.

JACKHAUSER (AT) was born in 1958 in Horn / Lower Austria. After working as a chemist he studied from 1983 to 1986 electro-acoustic music in Vienna. 1994 foundation member of the performance band Lux Flux. Since 2003 co-operating with Milli Bitterli, 2014 /15 he develops together with Lisa Hinterreithner the performance-series “The Call of Things”. And since 2005 numerous joint projects with Sabina Holzer.

Constructs performative interventions and experimental works with various matter which since 1999 have been run and attended to as “Wohnung Miryam van Doren” (“Apartment Miryam van Doren”). Exhibited at Lentos Kunstmuseum Linz, Documenta(13) Kassel, Hidden Museum Fraxern, MachfeldStudio Wien, Museum Essl Klosterneuburg, Fluss NÖ Foto Wolkersdorf, Various Artist Berlin and at Private Places.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.
More info www.stffwchsl.net

We will practice elements of Core Strength Vinyasa Yoga to emphasize muscles deep within the body, (like psoas, quadratus lumborum, and pelvic floor) in order to build the support for the body fromwithin. Notions of waving, pulsing and awareness through movement will help us to connect our mind with our wisdom and joy to guide us through the days.

In my current artistic practice often antiquated musical instruments are enhanced by mechanical and electronic components, enabling them to play by themselves. The devices shown here are in different stages of development, and are for the first time publicly put into operation as a test run, their backgrounds and processes explained.

ALFREDLENZ (AT) is based in Vienna and Studenzen /Styria, studied Transmedia Art at the University for Applied Arts in Vienna and sound engineer at Tone Art Vienna. He was Erasmus Student at the department for Generative Art at the Berlin University of the Arts. He worked at the Sema Nanji Residency at the Seoul Museum of Art, Seoul, Korea. With the composer Christian F. Schiller he initiated the projects Piano Feedback Distortion and Studenzen Studios. Since 1998 he produced electronic music, released on various record labels in Germany, Austria and the UK. Since 2008 several solo and group exhibitions in Austria, Switzerland, Germany, Hungary, Croatia, Greece, Southkorea and USA.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.
More info www.stffwchsl.net

residency@Im_flieger

a movement// Brigitte Wilfing (AT)
In the context of STOFFWECHSEL – ecologies of collaboration

A GESTUREFOREUROPE.
a movement is the beginning of my exploration of a transnational community. I am following the question of European identity/identities, putting them into the body. In search of signs and gestures signalising an affirmation of plurality and difference, of symbols of inclusion already existing and emerging besides the EU flag’s christian appearance.
The evening takes place in the shape of a performative conversation, in which my body’s cultural and subjective knowledge also expresses itself. The body’s thinking in movements generating and dissolving identity, in legible and illegible (abstract) signs is investigated. A complex thinking process about our conception of democracy and identity seems important to me. How can we live democracy without being directly bound to a national state? How canidentity, dynamic and never wholly completed and certain, still give a feeling of security?

a movement connects to the spirit of the diem25 movement, founded in February 2016 by Yanis Varoufakis, and giving the process of bringing the demos back to democracy 25 years. April 20 is the first invitation to think about Europe together and get our thoughts moving, translate them – seriously, playfully, poetically, pragmatically. In an examination of possibilities.

A polling booth for yourmovement voice – a gesture for Europe – is waiting for you.
possible futures (Brigitte Wilfing)

BRIGITTEWILFING (AT) focuses on choreographic works situated in the transition area between visual and performing arts and on artistic research, where she initiates and participates in collaborative projects of artists and theoreticians. Her solo-pieces and her works at the interface of new and experimental music and movement in collaboration with contemporary music ensembles and composers are shown at home and abroad. 2013/14 she conceived the script »stop listening start screaming« which was premiered at the Junge Oper Stuttgart. In 2014, she co-curated the discursive performance festivalOPEN for the University of Applied Arts Vienna, and from 2012–2014 co-managed the performance evenings of the University’s department for transmedial art. Co-curator of the series Performance als Lecture (Kunsthalle Wien) and the symposium and laboratory pornonom (Tanzquartier, WUK). Since 2011 she has been a member of the Im_flieger_team.

STOFFWECHSEL – ecologies of collaboration is a transmedia research project with differently involved artists and theoreticians, experimenting with structural and artistic entanglements.

Im_flieger PRESENTS

An online-experiment by Annie Abrahams (NL) & Martina Ruhsam (AT/DE) besides,compressed by communication is a real-time composition in which daily objects interrelate in an interface that usually frames the heads of humans. Annie Abrahams and Martina Ruhsam communicate by juxtaposing and resituating objects and by reading a text that is recomposed during the course of the performance.Once again they investigate the performative potential of computer-mediated performance.By listening to each others gestures they choreograph each other despite being geographically far away from each other – Annie is in Montpellier, Martina in Vienna.

MARTINARUHSAM (AT/DE) is working as a choreographer, performer and writer. She studied Movement Studies & Performance in Linz and Theatre-, Film- and Mediastudies in Vienna. From October 2008 to March 2009 she was vicarious head of the theory-centre in Tanzquartier Wien. In 2011 her book Kollaborative Praxis: Choreographie was published by Turia + Kant. Her artistic work and collaborative projects were presented at various venues and festivals in Europe (e.g.: Wiener Festwochen, Tanzquartier Wien, brut, Kino Šiška, Mladi Levi Festival, Museum of Applied Arts Vienna, Museum of Contemporary Art Metelkova) – predominantly in Austria and Slovenia. From 2007 until 2014 most of her performances were realised in co-authorship with the Slovene visual artist and director Vlado Gotvan Repnik. She is a member of the editorial board of Maska and has given lectures internationally. Currently she is writing a PhD at the Justus-Liebig-University in Gießen.

ANNIEABRAHAMS (NL/FR) has a doctoral (M2) in biology from the University of Utrecht and a MA2 from the Academy of Fine Arts of Arnhem. In her work, using video and performance as well as the Internet, she questions the
possibilities and limits of communication in general and more specifically investigates its modes under networked conditions. She is known worldwide for her netart and collective writing experiments and is an internationally regarded pioneer of networked performance art. From 2002 till 2005 she taught at the University of Montpellier in the Arts Department. She curated the project InstantS, the Breaking Solitude and Double Bind webperformances series for panoplie.org (2006–2009). In 2012 she co-organised the first Cyposium and published an article on webcam mediated communication and collaboration in JAR #2. In 2013 she started with Emmanuel Guez the ReadingClub project. In 2014 she published two books: from estranger to e-stranger; and CyPosium – the book,co-edited with Helen Varley Jamieson.http://www.bram.org

‘…the image’s role in the process of bearing witness relies not only on the image’s technological ability to furnish empirical evidence of the traumatic event, but on the image’s phenomenological capacity to bring that event into iconic presence and to mediate the intersubjective relations that ground the act of bearing witness’.
Guerin, F. & Hallas, R., ed. (2007) The Image and the Witness, London, Wallflower Press

Both Wenninger and Young make short, experiential, visceral films that bear witness to transgressions against the body and psychological or physical trauma. In this discursive event they present a series of film screenings and discussion between filmmakers, and audience, the metabolism of traumatic memory, and a repossession of the act of witnessing.

***Paul Wenninger (AT) is a freelance dancer, author of choreographic works and filmmaker with focus on pixilation and animation. Since 1999 he is the artistic director of Kabinett ad Co., a working platform for interdisciplinary projects with focusing on the body. His works have been shown internationally and received several awards. www.kabinettadco.at

Susan Young (GB) is a BAFTA-nominated animation director whose commissioned work is notable for its dynamic movement and fluid linear qualities. She is currently researching animation’s capacity as a medium for processing psychological trauma at the Royal College of Art, London, using autobiographical material and experimenting with new animation styles. http://susanyounganimation.com

***Im_flieger INVITES is a discursive format, implemented since 2006, and based on the principle of invitation. A local artist is invited to invite another artist for a dialogue about their art works, practices, processes and ideas. The focus is on the juxtaposition of various aesthetic, media, political, and social perspectives. The exchange and the process of communication are giving the base for the public presentation at the end of the process.

2015

Residency@imflieger

The haziness of the inner and outer // Martina Rösler and Steffi Wieser
Work in Progress

A study of the “being- in- twos”. Searching and finding contact points. A stretching of one body over to another.
In their new work, Steffi Wieser and Martina Rösler explore the potential of empathy amongst interacting bodies, ways of touching and being touched. They are interested in the haziness of these meeting points. What do you see, understand and feel in these compounds and how do these perceptual experiences differ? The discrepancy between the inner sensation and outer image, playing with concrete movement and blurred intention and the other way around is the starting point of the choreographic study.
Through the intermediate areas of inner consciousness and outer projection the performance negotiates the I, the you and a potential we.

Martina Rösler (AT) lives and works as a freelance choreographer, performer and dance teacher in Vienna. She studied Contemporary Dance Pedagogy at Konservatorium Wien Privatuniversität and contemporary dance at Mimar Sinan University in Istanbul as an exchange student. Furthermore she graduated in 2015 at University of Vienna in the field of theater, film and media studies. In 2010 she received a scholarship for a research residency at iDANS Festival in Istanbul, in 2011 the DanceWEB scholarship at Impulstanz Festival and 2012 the START scholarship for Performing Arts of BMUKK. She is part of the viennese theatre collective makemake produktionen and collaborates with different people in diverse contexts.

Steffi Wieser (AT) works since 2006 as a performing artist and choreographer. She studied classical dance and contemporary dance pedagogy at the Vienna Conservatory, and contemporary dance at CNSMD in Lyon/ FR and at the Escola Superior de Danca in Lisbon/ PT. In 2010 she received the START Scholarship for Performing Arts of the BMUKK, in 2012 the DanceWEB scholarship at ImPulsTanz. Since a dance festival, which she co- initiated and organized from 2009 to 2012, she finds interest far from the classical stage space and examines the diversity of spaces not created for dance and performance, most recently with “on DISPLAY – theatrical forms of transparency ”, a dance and theatre project in showcase places in the 7th district of Vienna (artistic director: Veronika Glatzner, choreography: Anna Knapp).http://steffiwieser.wordpress.com

Im_flieger CHANGINGSPACES national 2015

„Calamocos or my greatgrandmother was a poet who could not write“ // Veza María Fernández Ramos (ES/AT)

I am named Milagros after my grandmother and an old Spanish beauty. I am from Calamocos, a village in the north of Spain where people fight crisis with faith and flowers, where a saint carries his tongue in his hand and where women hide needles in their bras so that men don´t come too close. Although my village has an odd sounding name, since “moco” means snot, it is a place full of beauty and tradition I cannot leave. No one from Calamocos really manages to leave this place.
This is the story of my home through my mouth and my body and also through the memories of my grandmother.

“It is a painful separation that brings her back to recollect the female line of her identity. With her presence, her charisma and her personality she takes the audience with her on a journey treading the fine line between folklore and contemporary performative practices.” The bestOFFjury Feb.2014: Laura GRASER (Luxemburg), Johanna-Yasirra KLUHS (Dortmund), Felizitas KLEINE (Dortmund) und Holger Schober (Vienna)

Veza María Fernández Ramos (ES/AT) is a choreographer and performance artist who lives in Vienna and Graz. Her work is a constant dialogue between dance, theatre, performance and text creation. She studied English and Spanish Philology in Spain, Scotland and Austria, and dance in various professional training courses, workshops and laboratories in Austria. After three years of teaching in a secondary school she left her job to dedicate herself fully to her artistic career. She works on solo performances and in two duo constellations, “Sámaheydi Sisters” together with the performer Christina Lederhaas, and “And then we ran into the ocean” with the poet Christoph Szalay. She was awarded the IG Tanz Steiermark Scholarship 2011–2012, the BESToffSTYRIA audience prize 2014 for her solo piece “Calamocos or my grandmother was a poet who couldn´t write”, and the Artist-in-Europe scholarship in Brussels 2015 (Das Land Steiermark Kultur). She also received the danceWEB scholarship in 2015.http://veza.at/

After one month in residency at Im flieger, we would like to invite you to an open rehearsal where we will perform some of the developed materials and speak about the future of our coming work.
“Excitement of our people” is attempting to create a systematized way of generating meaning by physically negotiating the development of a potential event. The aim is to create an abstract fiction where the difference between form and content is blurred and happens only in the mind of the viewer.

Raul Maia (PT/AT) is a Portuguese dance/performance artist based in Vienna. He has collaborated with ultima vez/ Wim Vendekeybus, Anna MacRae, Tino Sehgal, Fanni Futterknecht, Mike O’Connor, Sofia Dias and Vitor Roriz, and Paul Wenninger amongst others. He mostly splits his time between his own work and his ongoing artistic collaboration with Belgium choreographer Thomas Steyaert. His work has been shown in festivals and houses such as ImpulsTanz (AT), Xplore dance Festival (RO), Potsdam Tanzfabrik (DE), Idans Istanbul (TUR), Tanzquartier (AT), WUK (AT) and Brut(AT) amongst others. At the moment his main focus as a maker is in attempting to create frames for physical behaviour from which physical language between performers can arise and later be contextualized into an artistic object.

Raphael Michon (FR/AT) is born in Rennes at the end of January 1979.
After Being involved in the « Conservatoire de Musique » as an oboist student for 8 years, he entered the Fine-Art School of Quimper and the company « Hydragon » (as a percussionist-actor for street theater). He took part of the « Ochossi » Company for 4 years as a dancer, and 2 years as a « timbal » and « atabak » percussionist in France, Tunisia, Poland. Since 2005, he was an exerce student in the « CCN de Montpelier, M. Monnier » and 2007 (essai student in CNDC d’Anger, E. Huyne), he works as a performer, dancer and musician/composer for many companies within Europe. He is living in Vienna since the beginning of January 2011. http://www.raphaelmichon.com/

Sabina Holzer (AT), is a dance and performance artist and a writer based in Vienna. She worked in projects with Robert Steijn (NL), Fabian Chyle (D), Bilderwerfer (AT), Toxic Dreams (AT), Vera Mantero (PT), Philipp Gehmacher (AT), Lux Flux (AT), Machfeld (AT) and Milli Bitterli (AT), Jeroen Peeters (B). In 2005 she has started cooperating closely with the fine artist Jack Hauser. Together they create performances, interventions in public space and galleries as well as in theaters and museums, such as the Tanzquartier Wien; Lentos Museum of Modern Art, Linz; WUK; Essl Museum; Hidden Museum; Documenta 13 and University of visual Arts Vienna. She organizes and is invited for transmedial-settings and collaborative research projects at the intersection of theory and practice internationally. http://www.cattravelsnotalone.at/

Residency@imflieger

symposium a-c // fish in search of water (Clélia Colonna & Rotraud Kern) & Guests
The Art of Juchzen // A gathering in between tradition and fiction

symposium a – c is a platform for a “traditional” gathering; a space to share, create and experience different traditions for the sake of feeling… en-rooted, connected, …
“We consider ourselves as fish in search of water, pulling the strings of different traditions to capture their nature and weaving them artificially in an urban – artistic setting.”

Clélia Colonna and Rotraud Kern are developing since 2013 under the name of COWBIRDS – whose members are all dancers / performers interested in singing – sound installations based on traditional Corsican polyphonic singing.
The first phase of Residency@imflieger (March 2015) they spent with the research of traditional practices in the Ausseerland/Austria and approaching traditional musicians and ethnologists. In the second phase (October 2015), they developed the concept of symposium a-c and are inviting as a fish in search of water to a gathering between tradition and fiction, with contributions of following guests:

Vienna is the first station of the artistic and theoretical exchange format The Art of Encountering – 8 artists from Mainland China are visiting the network partners from Austria, Switzerland, Belgium and Germany during a tour lasting six weeks.
Initiator PAErsche – Performance Art Laboratory, which is based in Cologne, invites artists from different countries and regions of the Far East to provide a distribution of their practices and the theoretical backgrounds of their cultural activities. http://paersche.org/portfolio/art-of-encountering-iv-to-come/

Im_flieger in cooperation with the Vienna-based ChinaCultureDesk created an evening with performances by 4 Chinese artists (He Chengyao / Feng Weidong / Xiang Xishi / Zhou Bin) and 4 Austrian artists, the gesture of “showing to each other“ as a direct form of intercultural encounter. Different talk and discourse formats will be conducted by ChinaCultureDesk between the individual performances, conveying intercultural, historical and artistic background knowledge to the audience and by this contextualization allowing a better understanding of the artistic interventions from the Chinese cultural sphere and vice versa.

Acting and thinking in intensities. That it takes an untouchable to meet, is supported as an active peculiarity between cultures, an essential, floating medium.
How should be the touching like, that the untouchable stays unaffected in all, innumerable shaped act in situations? Boris Nieslony (ASA European, PAErsche, Black Market), initiator and curator of the series “The Art of Encountering”

Performance artists from China, presenting works at Im_flieger

Zhou Bin
* 1970 in Xi’an, lives and works in Chengdu, where he organized the UP ON International Live Art Festival. He mostly makes minimalist long-term performances, in which he goes hard to the limits of his body, thus expanding the understanding of performativity.

He Chengyao
* 1964 in Sichuan, she lives and works in Beijing, makes photo and video works and performance art; the confrontation with the mental illness of her mother, which she describes as a private ideology or escape, characterizes her work. Performing naked, e.g., placing herself at the Great Wall of China, she initially provoked great controversy in China in terms of the traditional image of women. More recent one-to-one works are very intimate. ‘I want to show that we are all seeking light in our lives but that it’s an illusory thing and you can never catch it… our destiny is in other people’s hands.’

Feng Weidong
* 1969 in Beijing, grew up in Inner Mongolia, lives and works in Beijing. He practiced the “objectification of the body”. “Then there may be just a line between beauty and ugliness thin deep in your mind; at this moment the mind is subverting the peace and communicating with yourself.”

Xiang Xishi
* 1970 China, lives and works in Xi’an as manager at the Contemporary Art Center, where he has organized the Guyu Action Contemporary Performance Art Festival with Wang Chuyu and others since 2007. He is a teacher, internationally well networked, and regularly presents contemporary performance and live art in China. In his performances he sometimes interacts very directly with the audience.

in dialogue with performance artists from Austria

Daniel Aschwanden (CH/AT) & Conny Zenk (AT) // Selfie Shamanism (extract)live performance and multi-channel audio-video installation
How is the dancing body trapped in realities between absence and digital simulation and its challenged physical presence in the face of its own double as a digital shadow? Unspectacular everyday movements are interrupted by expressive gestures, manifest tensions, visualize nameless distances, bridge the abysmal difference between the visible and the invisible.
Performer and choreographer Daniel Aschwanden in collaboration with media artist Conny Zenk use practices such as face.scanning: digitally produced and graphically edited videos, which are complemented by a soundtrack composed by Veronika Mayer. They demonstrate large-scale projections, which rely on the practices of Selfies and and approach them with new questions rather than with answers. http://art-urban.org

Jan Machacek (AT/MX) // Shadow Replay (extract)
The Media Performance Shadow Replay is a reflection on the relationship between north and south, Austria and Mexico, and the aftermath of colonial history. As a European in Mexico the performer Jan Machacek investigates his role and responsibility in a globalized present. The performance is an encounter between real and digital shadow. http://jan-machacek.klingt.org

Gertrude Moser-Wagner (AT) // Like a Bridge
Gertrude Moser-Wagner challenges the relations between East and West by way of with one’s own past in one’s country and performs a thinking, groping action. http://www.moser-wagner.com, http://www.taste.at

Brigitte Wilfing (AT) // Zeichnungen (extract)
In the phrased play of two arms and hands with torso and head, images are formed which make the body legible in its cultural and social construction. The performer generates temporary identities, which increasingly evade the representation of social order. By focussing on the body’s own material life, its presence gains prominence. By turning to the substantive life of its own body its presence occurs in the foreground. It becomes the subject of experience and is drawing. http://www.brigittewilfing.com

CHANGINGSPACES international
7.–12. July 2015, Artist exchange
is an artist-in-residence exchange-project. It is initiating exchange and cooperation between two independent cultural actors in dance and choreography – Im_flieger and Kelim. From March 19th – 26th, 2015 Anita Kaya (AT), Matan Levkowich (AT/IL), Claire Lefévre (FR/AT) were hosted by Kelim in Bat Yam. In July 2015 Anat Danieli (IL), Tami Lebovitz (IL), Moshe Shechter Avshalom (IL) and Shira Eviatar (IL) will be guests at Im_flieger@schokoladenfabrik in Vienna.
The artists from both centres are presenting dance performances open to the public and the artistic directors are introducing their venues and vision. In addition to these public events, the artists will hold three days of meetings and discourses in which they will present their working methods and will develop the program for future projects and collaboration in 2016/17.
More www.imflieger.net

REPETITIONS OF PARTS OF ME
was created out of an interest and desire to investigate how empathy is woven. The initial motivation was to create a training ground to identify and empathize with any “other“ in an artistic creation/act.
The rehearsals were held in the Museum in order to expose and being exposed in a state of search and research. Performing in a gallery space, allows to establish physical relations with the spectators. The spectators are an integral part of the composition and work, and the empathy experiment, of people acting on a joint common plane.
Choreografie/Performance: Anat Danieli in Zusammenarbeit mit Tami Lebovitz
Premiere: August 2012 / Bat Yam Museum / Israel

press extracts:

“Something very intriguing and clever going on tonight at the Tel Aviv museum. This dance has great modesty, and basic reference to dancing body and mind that seeks interaction with viewers.” Yael Efrat, Timeout Tel Aviv

“Actually there is no stage at all, and precisely because of this, a refined quality is achieved… quality of conscious body, devoid of energy of a show. Intimate atmosphere, the quality of the composition, a complete lack of manners… I admit that I couldn’t resist the temptation.” Ruth Eshel, Haaretz

” The project at the museum invites to rethink our habits as creators and viewers to shake old orders and create new possibilities. Over the years, Danieli engaged in the study of dance and settings of a physical and emotional involvement of dancers and audience”. Hagit Peleg Rotem, Globs

ABOUTKELIM
In 2009 choreographer Anat Danieli along with Tal Gravinsky and a group of emerging young choreographers established a new choreography centre in the city of Bat Yam. They named it ‘Kelim – A body for choreographic work’. Kelim was conceived as a place for thought, experiment, entrepreneurship and training in choreography. Nowadays the centre holds classes, workshops and performances which are related to the research and dialogue between creation, creators, audience and community. It also holds a biannual program for choreographers and functions as a home for creative support for choreographers and artistic processes. It produces works, offers residencies, artistic mentoring and performance space. Kelim sees itself as part of the new wave of selfreflection within the local Israeli contemporary dance scene. It is driven by a premise of questioning and challenging the existing order and methods.
Lecture will portrait KELIM through various artists with different visions, subjects and artistic practices. We would like to speak and to present images and videos about the people that are active in Kelim and create a community of discourse and mutual growth.

BODYROOTS
What constructs the self?
Body Roots is a solo performance examining images and representations of my family and how they are carried in my body and mind. Utilizing masks of my family members I explore these images based on a belief that the personal is political. The work explores an intersubjective approach that perceives each individual as constructed from ones context and from the relationships of each individual with the others. The piece was created as part of the choreography program of Kelim.
Premiere: June 2014, ‘fresh – Tanztage Braunschweig’ festival.
Choreografie/Performance: Shira Eviatar
Duration: 25 min, Music: Reflections of my life by the Marmalades
The piece was created as part of the choreography program of Kelim.

ANATDANIELI (IL)

In 2009–11 Danieli has been co-directing the “New Dance” festival at Hazira – Interdisciplinary Arena in Jerusalem, with choreographer Arkadi Zaides. The program offered artistic and production support, workshops and an opportunity to be part of a group of artists who are in dialogue with the local reality through contemporary dance and creation.
Independent choreographer since 1988, artistic director of Kelim since 2009, lives in Tel Aviv. With the Anat Danieli Dance Company (1994 – 2007) she presented full length works, which have been presented in various festivals in the United States, Switzerland, Portugal, Germany, Holland and Japan. Danieli was also invited to create for Bat Sheva dance Company, Bat Sheva Ensemble, the American Dance Festival and more.
In 2009 Danieli and a group of young choreographers established a choreography center – Kelim. It focuses on studies, exploration and apprenticeship in choreography, and in community work in the city of Bat Yam. In 2012, following five years of intentionally abstaining from producing her own work, Anat Danieli created a new piece in collaboration with Tami Lebovits, “Repetitions of parts of me”’ at the Bat Yam Museum and then at the Tel Aviv Museum of Art. Her latest work ‘Movement Material’ was premiered in 2014, as part of Diver Festival, a contemporary dance festival in Tel – Aviv.

TAMILEBOVITS (IL)

Born in 1983, lives and works in Tel Aviv. Created stage works for Festivals and Platforms including: Curtain Up Festival at the Suzanne Dellal center, New dance Festival at the Performance Art Arena, Diver Festival, Intima-dance Festival and others. She graduated the School of Visual Theater at 2007. Between 2009–2012 she took part at the Choreography program Kelim. Tami is collaborating with several artists and choreographers such as- Guy Gutman, Anat Danieli, Iris Erez, Tamar raban.

SHIRAEVIATAR (IL)

Shira is an independent choreographer and dancer, born 1986, working and living in Tel Aviv. Shira studied at the Lee Strasberg Theatre & Film Institute in New York. In 2008 she pursued a bachelor’s degree in education at the department of Dance – Theater at Kibbutzim College, where she graduated with honors. In 2012 she continued her studies and training at Hasadna- The Haifa Dance Workshop and in 2013 she created under the frame work in Kelim – a body for choreographic research. She performed with different choreographers and in various festivals in Israel and Germany, with the work of others and herself. Shira was selected for the 2015 danceWEB Scholarship Programme within Impulstanz 2015.

MOSHESHECHTERAVSHALOM (IL)

Born in Jerusalem 1980. Lives and works in Tel Aviv. Collaborates as dancer and performer with different choreographers and stage artist. In 2014, established together with the Israeli dance persona Sharon Zuckerman, a new frame for contemporary dance learning named ‘Simulator’. Initiated and co-artistic director of ‘Diver Festival’ for contemporary dance in Tel Aviv-Jaffa (www.diverfestival.com). Joined the ‘Kelim Choreography Center’ team at the end of 2014. Is teaching dance and performance in different frameworks.

Im_flieger is very happy to welcome KELIM – A Body for Choreography (Bat Yam/Israel) and share one week
of experiences about art and life.

Im_flieger CHANGINGSPACES Vienna/Tel Aviv

In cooperation wth KELIM – Center for Choreography (19th to 26th of March 2015)

Sat 21st of March 2015
In the frame of March Hare-Festival by KELIM
Yitzhak Nafha, Bat Yam/Israel

8 pm // ABOUT Im_fliegerPerformative Lecture by Anita Kaya (AT)Im_flieger is an association led by artists for artists, based in Vienna, Austria. Since the year 2000 it has been instrumental in creating public open space and a research laboratory for contemporary dance, performance and transdisciplinary art work. The centre of attention is local, national and international networking on artistic and structural levels, process oriented production and presentation, artistic discourse and research, supporting independent performance artists.
This lecture is an introduction to Im_flieger’s structural development, formats, contents and visions within its artistic, social and cultural political context of Vienna and Austria’s Dance and Performance field.

9 pm // FUNCTIONMAN – showingFUNCTIONMAN is a collaboration between dance artists Claire Lefèvre and Matan Levkowich and explores the militarization of the male body. more >>

CHANGINGSPACES Vienna/Tel Aviv
is an artist-in-residence exchange-project. It’s is initiating exchange and cooperation between two independent cultural actors in dance and choreography – Im_flieger and Kelim. From March 19th – 26th, 2015 Anita Kaya (AT), Matan Levkowich (AT/IL) and Claire Lefévre (FR/AT) are hosted by Kelim in Bat Yam. In July 2015 Anat Danieli (IL), Tami Lebovitz (IL), Moshe Shechter Avshalom (IL) will be guests at Im_flieger@schokoladenfabrik in Vienna.
The artists from both centres are presenting dance performances open to the public and the artistic directors are introducing their venues and vision. In addition to these public events, the artists will hold three days of meetings and discourses in which they will present their working methods and will develop the program for future projects and collaboration in 2016/17.

Im_flieger PRESENTS

A video documentary of the open-air performance “REFUGEES” recorded 1986 on Vienna’s Stephansplatz is presented as a silent film with live music. David Ender (bass guitar), Elisabeth Flunger (percussion) and Peter Panayi (guitar) implement the video of the formation Körperwetter Wien (1986–1990) as starting point and background for their musical performance.

TAKE A COPY OF THEVIDEODOCUMENTARY ON DVDWITHYOUFORYOURPRIVATEPERFORMANCEARCHIVE!

Ton_Spur is another contribution to focus Im_flieger LIVINGARCHIVE. Im_flieger LIVINGARCHIVE is fed from the archive that is stored in the minds and bodies, boxes and harddrives of individual protagonists. In the absence of systematic archiving, there is little public information on artistic works and structural developments of Austrian contemporary dance in the eighties and nineties. Im_flieger LIVINGARCHIVE is working on visualizing this.

David Ender (AT)
born in Wodonga, lives in Vienna. Musician, composer, performer, improviser, author, translator, horti- and web culturist.
Member of and working together with: Freier Puls, Jack Hauser, F.Wake, Ent-Art Orckesta, Miki Malör, Lux Flux, Damen-Improvisation & Herren-BIGbäng, tiefe Töne, Stoned Genies, Baitrunner, Andrea Bold/TVE, corpus, brpobr.
cooperations/performances: Bilderwerfer, Miryam van Doren, Karlheinz Essl, Barbara Kraus, Peter Panayi, Annette Pfefferkorn, Sabine Sonnenschein, Saira Blanche Theatre, Oleg Soulimenko, Akemi Takeya u.a.Elisabeth Flunger (IT/LU)
is a percussionist, composer and performer and lives in Luxembourg. She works with classical orchestras and contemporary music ensembles as well as with improvising musicians and dancers, she gets involved in theatre and dance productions and she holds workshops on improvisation and composition for children, amateurs and professional musicians. Elisabeth Flunger’s favourite instrument is a collection of trash metal objects, used in concerts, installations and performances. For these instrument she created a series of solo pieces and developed appropriate playing techniques. www.eflunger.comPeter Panayi (AU/AT)
is a musician, composer, pocket knife expert, band leader and performer, born in Sydney/Australia and educated at the American Institute of Music and the University of New South Wales. Current projects include the Stoned Genies and the Cosmic Hustlers, More Please Orchestra, Baitrunner, Andrea Bold/TVE, the Imperial Archdukes of Funk, Damen-Improvisation & Herren-BIGbäng, Superfly Radio Orchestra and much, much more!

Körperwetter Wien (1986–1990)
was a research and performance collective with it’s home base at the WUK, Vienna, initiated by Daniel Aschwanden after his return from Tokyo. The training and the artistic work were based on the methods of Body Weather Laboratory (BWL), developed by Japanese dancer Min Tanaka in the early eighties and is a synthesis of Eastern and Western practices. Body Weather Vienna performed in theaters and public spaces in Vienna, Italy and Spain, also in cooperation and exchange with other Body Weather Labs. More about Body Weather and current Body Weather Laboratories www.bodyweather.net

Im_flieger IN_FORSCHUNG

3–6 p.m. Public Tryouts installation accessible for public6 p.m. Open LAB presentation of the experimental set-ups and laboratory results7 p.m. OPENDISCUSSION with guests of various disciplines

Foto: Konstanze Rehberger

The body as an instrument – a transdisciplinary experimental arrangement at theinterface between man and machine. Veronika Mayerböck (ALLES oder LICHT) and her team of Simon Laburda, Jorge SánchezChiong and Talia Radford develop a mobile “light instrument”, the prototype of an electronic sensor system, which transforms light into music. This research is supported by ImpulseXS *. Attached to different parts of the body, “light instrument” allows its wearer by means of movement to interact “acousticly” with its environment. Several light sensors on the body continuously measure the ambient light mood in the room, which in turn is audible as soundscape and is controlled by the movement. The performer is equally to the sensor and interactive element. The body becomes a “seeing ear” and moves especially after hearing that determines the orientation of perception, and is not intended as usually by the eye.

Within the 2-week transdisciplinary laboratory LIGHTSCORES the choreographic and installations scope and applications of the portable “light instrument” are practically explored and examined discursively. Guests of specialized disciplines provide inputs and are invited to experiment and exchange. The emphasis here is the acoustic development of sound spaces andchoreographic soundscapes, the aural translation qualities of light and thestudy of contextualized specific quality of movement and dynamics. The light architecture of the surrounding space is crucial part of the movement and sound composition.

The results of this research at the intersection of art, science and economy is presented to the public by means of a practical and discursive experimental arrangement (OPEN LAB), and moderateddiscussion with the participation of numerous guests of various disciplines(OPEN DISCUSSION). Interested persons are invited to experiment within the “multimedia installation” (PUBLIC TRYOUT).

*The technical development of the prototype – the “technically robust, wireless, portable sensor equipment with associated lighting and sound system” is supported by ImpulseXS, support program of the Austrian Economic Service GmbH, as well as the possible application in the therapeutic range within the course of a research cooperation performed by the Institute of Neuropsychology at the University of Graz and Graz Odilieninstitut. The application in early intervention of visually and multiple disabled children will be tested.

With the support of: AWS_Impuls XS and HABEGGER Vienna (Event Technology)

„TWINS … made in China…“ is a collaboration between the performance artist Andrea Salzmann (AT), the painter Anna Hayes (UK) and the two musicians Sebastian Meyer (AT) and Wolfram Leitner (AT).
As Twins Anna Hayes and Andrea Salzmann jumped over the Great Wall, they spat at each other, threw balls, blew soap bubbles and they slowly built an intense friendship. These friends found themselves in a human-unfriendly surrounding in which the market and especially the art market is moving towards a more and more dangerous point.
There are a few who have a lot of wealth and live a truly epicurean lifestyle but their money only floats in direction of Acrylic painting, so the only survival strategy for the Twins is to eat or be eaten up. The Twins are moving in between the times of yesterday and tomorrow and it is rather uncertain if they provoke Utopia or Dystopia. But what is for certain is that they are trying to change present conditions and this they are doing with the support of the music by Sebastian Meyer and Wolfram Leitner.

FUNCTIONMAN is a collaboration between dance artists Claire Lefèvre and Matan Levkowich. The creative startingpoint of this solo was the desire to explore the theme of male gender in relationship to Matan’s personal history. We focused particularly on the militarization of young boys’ bodies and minds, which Matan has experienced first hand during his military service in Israel. We were strongly inspired by the toy ‘Action Man’ and how it portrays a typical image of manhood in popular culture. We also referenced Hollywood action movies and questioned the way they perpetuate the glorification of the male hero.

We decided to create FUNCTIONMAN and to propose that when we focus on function rather than action, on inherent potential rather than goal achievement, we can debunk some clichés about male gender and possibly offer space to look at the human body in movement from a genderless perspective.

I’m Function Man
I’m a social stripper
I take out layers of expectations.
I’m not a blank canvas.
I’m a sophisticated brush.
I have a strictly defined amount of time to bleed.
This is not Sparta.
Tonight, we dine at home.
Function is my middle name.

Urbanite is the new proposition of Trigger Track Collective, which derives from the interest on the sensual and social practices of clubbing. Clubbing is part of collective urban movement patterns, such as demonstrations, crowds gathering and moving in city space and others.

The aim is not to reproduce a party on stage, but to research on present aspects such as social communities, gender roles, sound and music, sensual approaches etc.

Clubbing is a rather young massive urban ritual, unique in its elements of gathering of people in public spaces, where collective consciousness is formed in a new way, through participatory processes, which challenge current urban neoliberal conditions of production, time, leisure and physicality.

Movements in public space – how small must they be in order not to be recognised as performance? To answer this question, eleven choreographers have been invited to test their movement sequences at a place usually not linked to the term “performance”: a tram-stop shelter in front of the Vienna National Opera.

Each performance was documented with video and translated into a live-performance by Iris Julian. In this way there comes a special visibility into play through which the perception in art spaces (black box of theaters and white cubes of galeries) in difference to public spaces is researched.

CROSSBREEDS 2014 is in search of time. Neoliberal politics has destroyed all forms of time standing in the way of the logic of efficiency and capital. Contemporary man faces the challenge of managing the number of possible situations and their varying time shapes. In order to do this, he continuously moves between internalised rhythms and routines, and the flexible and reflexive creation of individual time structures.
We’re addressing contemporaries and contemporary witnesses who guide or accompany us on historical paths. We attempt time jumps into the future and let ourselves be abducted into fictions of the present. We investigate the city’s body, we embody time. Together with time workers we surrender to sweet idleness and let the continuous bustle of everyday life come to a standstill.
Our stories are mixed with history. We keep claiming our place and at sunrise and sundown visit strange animals in Vienna’s first urban national park. Walking, we meet other cities and times, focussing the unnoticed, and in the walk-in archive we blend Yesterday with Today. We unfold to become an urban stage, let the flow change direction and appropriate Revolution 1934 playfully. Blind between glances, we are ready for the zombie’s slow pace, holding our breath for 5 minutes. Ceaselessly we caress the cheek and dissolve in whiteness or listen to the timeless transformation.

WELCOME TO THETIMECOLLAGE!

In an overlay of differing time concepts, CROSSBREEDS 14 spans and materialises between different spaces, times of the day, and rhythms during one to three weeks of field research (depending on project) and a consolidation from June 2 to 8, 2014 between 4 Hubs: the new Im_flieger Homebase – the former Stollwerck chocolate factory in Vienna’s 12th district, the legendary Café Industrie, a series of exhibitions at Myplace Selfstorage, and the public space in the vicinity of the interface of Kulturzeile / Wienzeile and Gürtel (12th and 5th districts).

27 projects of around 60 local and international artists and theoreticians offer insights into the multiplicity of artistic and theoretic viewpoints and formats – in varying timeframes and durations – from the fields of dance/performance, installation, (short) film, video, lecture, music, urban intervention and city walk.

Visitors and passers-by are invited to experience a dense programme between the 4 Hubs – the different but overlapping time concepts of places of transit, history, work, living, and leisure – to wander, be surprised, refresh historical traces, stop time together, and also perceive subtle shifts of the temporal and social structures of their environment.

CROSSBREEDS 14 focuses on public space. The presence of contemporary art in our local social environment, the connection of art and everyday life is a concern of ours.

CROSSBREEDS – Platform for artistic positions “in between” since 2007 has biennially supported the research, production, and publication of trans-disciplinary artistic projects, networking of artists in boundary transcending art production, as well as theoretical and artistic exchange about specific questions on transmedial positions regarding art, the body, and politics.